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No. «^ 



A CATALOGUE OF 

CHINESE PORCELAINS 



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A CATALOGUE OF 

CHINESE PORCELAINS 

COLLECTED BY 

MR. AND MRS. CHARLES P. TAFT 

CINCINNATI, OHIO 



WITH NOTES AND ILLUSTRATIONS 



COMPILED AND DESCRIBED BY 
JOHN GETZ 




NEW YORK 
PRIVATELY PRINTED 

MCMIV 



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... hs deceived 

1904 

, Onoyrlffht Entry 



ft. XXc. N 
' COPY 8 




Copyright, 1904, by 
CHARLES P. TAFT 



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PREFACE 




HE private Collection of Chinese Porcelains formed by 
Mr. and Mrs. Charles P. Taft of Cincinnati, described 
and illustrated in the following pages, contains uni- 
formly important specimens as well as interesting and 
noteworthy groups that exemplify the high technical 
skill attained during the early periods of the ceramic art 
in China, and which are held in great esteem by all 
connoisseurs to-day. 

Covering so many centuries in the history of this art, these objects in 
porcelain, by their surpassing qualities and preeminence, fairly indicate 
that the transcendent success of their kind, whether owned in private or 
museum aggregations, contributed largely to the glory of those past epochs 
to which they are ascribed by native and other authorities. 

The creations of Chinese ceramists justly enjoy universal celebrity and 
favor, their singular beauty and exquisite richness making them harmoni- 
ous adjuncts to tasteful and esthetic surroundings the world over. Deco- 
rative applicability, together with a subtle charm of refinement, is always 
gratifying ; and we know that such objects won the enthusiastic admira- 
tion of kings and emperors, in Europe as in the far East. 

fix] 



PREFACE 

A former French minister to the Imperial court at Pekin, and a keen 
connoisseur as well as collector, once said to the writer, "There are porce- 
lains and porcelains, as there are diamonds and diamonds"; the inference 
is so apt and to the point, that its repetition here may be pardonable. 

The subtlety of rare old porcelain, which after the lapse of centuries 
shows no loss of color or sign of decay, its mature appearance combined 
with innate freshness, its brilliancy and translucency of glazes, and its sym- 
metry and dignity of form, whether invested with a solid color or a clev- 
erly balanced distribution of design, contribute each in its own way to 
the inimitable character of those objects in fired kaolinic clay. 

The taste for Oriental porcelains reached Europe early in the seven- 
teenth century, but until recent years the real gems in porcelain remained 
utterly unknown to the Western world. Only at rare intervals a few pieces 
which showed the native gout began to appear, and they, indeed, proved 
a revelation in America as well as in Europe ; such isolated apparitions 
in porcelain, coming from time to time, staggered amateurs by their beauty, 
and, it may be also said, by their unheard-of values. 

It has taken the Western world over a century to pass beyond the ante- 
room of this captivating art in China, and to reach the cabinets of the 
prized, the tie plus ultra, treasures owned by mandarins or by Manchu 
princes of the Celestial Empire. These precious objects have excited the 
interest of collectors the world over, but it may be safely stated that not 
before the great Tai-ping rebellion were such examples in porcelain seen 
outside of China. 

These fragile products, these fascinating and unobtrusive objects of art, 
have been destined to wander far, and from country to country, from 
mansion to mansion, always inspiring new delight, affording a field for the 
display of cultivated taste, and furnishing a stimulating pastime, as well as 
contributing by their presence to a quiet dignity of surroundings. Such 
are the real attributes of rare Chinese porcelains. 

The acknowledgments of the compiler are due to Mr. B. Duveen for 
his collaboration and interest in this work. 

[x] 



HISTORICAL 




BRIEF outline of the early history of Chinese Porce- 
lain is deemed not out of place here, as an introduc- 
tory to the following pages. Documentary evidences 
concerning porcelains of remote epochs are rather 
abstruse; either the specimens described cannot be 
traced, or they are now entirely lost through progres- 
sive diminution. The literature remains abundant, 
but for practical purposes is useless without accompanying illustrations. 

M. Stanislas Julien^in his translations of early Chinese records, refers to 
a certain blue glazed ware called "Tong Ngeou-thao"or "Tung-ou-t'ao," 
said to have been produced during the Chin dynasty (AD. 265-419), 
and Dr. Bushell, in his splendid work, alludes also to this dynasty as 
producing a blue ware called " P'iao-tzii," which is described as "re- 
sembling in color the pale-blue shade (P'iao) of certain silks." 

Sinologues proved by their researches that the kaolinic paste which 
properly constitutes porcelain, as we know it to-day, had not yet appeared 
at this early period; that, in fact, all the products referred to in the 

1 Histoire de la Fabrication de la Porcelaine Chinoise, Paris, 1856. 

[xi] 



LIT 



/& 



HISTORICAL 

Chinese annals of ceramic art as "Thao" or "T'ao" could have been 
only a sort of pottery or stoneware solidly glazed over with the enamel 
colors. 

The word "Tzii," used in ancient documents, came into use during 
the Han dynasty (202 B.C. to 220 A.D.), and designates a kind of porce- 
lain made from a stone called "Tzii-chi," which was found in the dis- 
trict of Tzu-tcheou (d'Entrecolles). This so-called porcelain has a fair 
ring, and doubtless is the product referred to in the annals as "Tzii," 
in contradistinction to the pottery "T'ao." In this connection it should 
be noted that a vitrified stoneware of a grayish color was made in China 
long before what may be called true porcelain, and has been even repro- 
duced in comparatively late periods. The covering of heavy glazing 
makes it difficult to distinguish this stoneware from porcelain unless the 
difference be noticeable at the foot. 

With the product made under the T'angs (A.D. 618-906) the ini- 
tiative and somewhat nebulous era in the history of ceramic art was 
brought to a close and doubt ceases ; for Sinologists, in a consensus of 
opinion, are content to accept the literary evidence of this dynasty with 
regard to the invention of real porcelain. We learn that "vases were 
made of a white color, solid and thin, of sonorous sound, and of grace- 
ful form" ; that this new product was in great vogue and called " Yao," 
to distinguish it from the former product "Thao" (or "T'ao"), the 
word "Yao" literally signifying an object baked in a kiln, whether 
porcelain or pottery. 

Before entering upon this interesting dynasty of the T'angs mention 
should be made of the rather short Sui dynasty (A.D. 581-617) just 
preceding it, as names of places and potters are disclosed in the contem- 
porary annals that should not be omitted in any history, however brief. 
In this period the Emperor decreed that the inhabitants of Ching-nan-chen, 
afterward called Ching-te-chen (King-te-chen), should make vases as a 
tribute for Imperial use. 

Chinese authors specify a kind of green glazed ware called "Lou-tzii," 
that was made under Ho Chou, or Ho Kuei-lin, President of the Board 

[xii] 



HISTORICAL 

of Works, as a substitute for glass, the secret of making which (according 
to Monkhouse) had been lost. The other product referred to was called 
" T'ao Yii " (pottery jade), as it resembled a certain kind of jade-stone, semi- 
transparent and of vitreous appearance. It may be concluded that both 
these wares belong to the celadon variety. 

During the first years of the T'ang dynasty (period of Wou-te, 612), 
native authors likewise state that a potter named Ho Chung-ch'u (Ho 
Tchong-thsou) made porcelain with a white body and brilliant as polished 
jade, famed as " Ho-yao," or porcelain of Ho. It is further recorded that 
Ho Chung-ch'u, together with other inhabitants of Hsin Ping, 1 was 
ordered to make vases for the palace (Professor Hirth is of the opinion 
that this potter made real porcelain). 

It is assumed, from the impressions conveyed through the foregoing 
particulars, that such productions had intrinsically the same translucent 
kaolinic substance, more or less vitrified by complete baking, which, with 
the white color, is taken properly to constitute the quality of porcelain. 
M. Grandidier also concluded, in his work, that all earlier product referred 
to as " Thao" was only a sort of pottery made of earth and stone, enameled 
but less thoroughly fired. 

It may be interesting to note that during the T'ang dynasty the follow- 
ing different descriptions of porcelain (besides the more famous products 
already alluded to), named after towns and places where made, are enu- 
merated : ue. f " Hung-chou-yao," " Yo-yao," " Ting-yao," " Shou-yao," 
1 Yueh-yao," and " Shu-yao." It is assumed that some may not have 
been porcelain ; but the last-named, which was made at Ta-i, in the 
Szechuan province, probably was porcelain, if the description that it 
was " snow-white," had a " clear ring," and was also " thin and strong," 
is correct. 

At the close of this dynasty a noted porcelain was produced under the 
direction of the Prince Tsien-lieou (907), called " Pi-se-yao," or "Porce- 

1 The name Hsin P'ing was changed, before the other materials used in the manufacture of porce- 
end of the T'ang dynasty, to its present namei lain in China. 
Feou-liang. It is the chief source for kaolin and 

[xiii] 



HISTORICAL 

lain of the hidden color." M. Julien described it as blue, although it is 
more likely to be the wonderful bluish-green celadon made at Jiichou, 
described by other writers as superior to the Imperial " Kuan-yao " and 
" Ko-yao." The glaze is described in an old Chinese manuscript of the 
sixteenth century, by a native collector, who saw a specimen of this porce- 
lain during his life, as of a " pale-green color, clear and lustrous, like 
a precious emerald in tint, the whole surface covered with marks like 
those on cracked ice." From the often defective translations of Chinese 
descriptions of porcelains made under this dynasty and the following 
short dynasties (from 907 to 953), we can only gather that most of 
these objects were modeled after ancient bronze vessels, and are now 
doubtless extinct, so that it may be truly said that literary evidence only 
of such porcelains exists to-day. 

Under the posterior Chou dynasty (A.D. 954-959) the Emperor Shih- 
tsung (Ch'ai-tsong) gave his family name to a certain hard-paste porce- 
lain made during his reign, which was also termed " Ju-yao " (Imperial 
porcelain), and later, under Sungs, was called "Ch'ai-yao." It was this 
sovereign who issued an order, famous in ceramic literature, "that porce- 
lain for the palace should thenceforth be made the color of the sky as 
seen between clouds after a rain." Chinese authors state that this color 
was " blue as the sky," " brilliant as a mirror," " thin as paper," and 
"resonant as a Khang" (a musical stone of polished jade), and that it 
also was " distinguished for its fineness and crackle." It is further 
recorded that those objects in porcelain of Ch'ai (" Ch'ai-yao ") * were 
so prized in subsequent years that fragments thereof were set in gold and 
worn as personal ornament. 

During the long and remarkable dynasty of the Sungs (A.D. 960-1259) 
the manufacture of porcelain received considerable attention from the court, 
and attained an artistic development that was appreciated only in later 

1 The colored glazes referred to in this epoch " clair de lune " ; and it is assumed that it was 

and the beginning of the Sung, other than green this latter-colored glaze which was then desig- 

or so-called celadons, were purple, black, ivory- nated as " ju " porcelain, or " Ch'ai-yao," after 

white, and the pale blue called by the Chinese this Emperor's family name. 
" moonlight " and by the Western collectors 

[xiv] 



HISTORICAL 

years. Imperial factories were established at several places, the most 
notable being the foundation, by Imperial decree, of a factory at Chang- 
nan-tchin, which under Emperor King-te, or Ching-te (1004-1007), was 
changed to King-te-chen, or Ching-te-ch&n, as it is written in some Eng- 
lish works. 

This Emperor ordered all the objects made for the palace to be in- 
scribed underneath with the four words " King-te-nien-tchi," so that we 
find here the record of a date-mark on vases for the first time. These 
porcelains were at once distinguished for the brightness of the glaze, the 
perfection of material, and the beauty of their forms ; and soon thereafter 
they were imitated in many places and circulated throughout the empire 
as "porcelains of King-te-tchin" (Julien). 

Imperial factories were also established beween 1 1 07 and 1117 at 
Pien-liang, the present department of K'ai-feng (Honan province), where 
they made the so-called vases of the magistrates, termed " Kuan-yao," that 
were of special quality and became famous in after years as " Imperial 
porcelain." It is recorded that they were thin and sometimes glazed in a 
moonlight color, bluish or dark green, and pale green ; that the upper rim 
was brown, and the foot of "iron-red" color. These vases also, it is 
said, have been imitated in various places and at later periods ; but such 
pieces are described as inferior to the originals. 

The products at these different factories, including those of Lung- 
ch'uan, appear to have been especially celadon, although moon-white and 
bluish or dark green are also mentioned ; M. Julien referred to a " blue 
porcelain," made at the beginning of this dynasty, although Sinological 
erudition has since proved that this porcelain was really not blue, but "pale 
green," or like the " green of onions." It is possible to identify the prod- 
ucts of Lung-ch'uan, owing to marked peculiarities ; they are especially 
characterized by the ferruginous rim at the foot, as alluded to above. 

Other celadons of early periods exist, showing the white paste, where 

unglazed, to be colored with a rusty-red wash, made in imitation of this 

famous product or to simulate the true celadon, called " Ko-yao," and 

' Chang-yao," made by the elder of two brothers, famous potters, named 

[xv] 



HISTORICAL 

Chang, natives of Ch'uchow, who lived between the eleventh and twelfth 
centuries, and produced the same peculiar results with their clay, in the 
Lung-ch'uan district, where they worked together. 

These brothers were both renowned for their porcelains ; but the elder, 
Chang Sheng-i, was considered the more clever. He is said to have used 
a brown-colored clay of fine quality and covered it with glaze that was 
crackled and had the appearance of "fish roe"; he also produced vases of 
the color of rice, and it is stated that his objects had the iron-colored 
rim at the opening and at the foot. History records the fact that during 
the last years of this dynasty potters tried in vain to imitate his work, and 
that the clay they used was poor and the color of the glaze less agreeable. 

The "younger brother," Chang Sh6ng-erh, made pieces of the same 
colors without being crackled; the French translations specify among his 
products pieces of an olive-green color, and also that others resembled 
very ancient forms, probably copied from bronzes of the Han dynasty. 

A blue of light color is also referred to as produced by "the younger 
brother" (as he is termed in the Chinese records), that, as described, could 
possibly be a sort of "clair-de-lune" glaze (distinguished by a heavy bluish- 
turquoise tone, sometimes mottled or marked with a purplish tint) stated 
to have had an effect as if covered with dew, but this later characteristic 
is also attributable to old celadon, or "Martabani." 

The embellishment of Sung celadons, as well as all the porcelain of this 
early period, was confined to engraving and modeling in low relief. Most 
of the specimens were crackled, and the different shades of glazes are 
described as resembling the colors of pale emeralds, onion-sprouts, greenish 
egg-shells, moss or grass green, while a few are designated as bluish-green, 
and others as having a gray-toned green (the real celadon color). Next 
to these, the "cream" or "buff-colored" glazes were most popular. 

Another type of enamel porcelain of this epoch is referred to in litera- 
ture, and identified with existing specimens. 1 It was known as "Chiin- 
yao," or "Chiin-chou-yao," the factories being situated at Chun-chou(in 
the district now called Yii-chou), prefecture of K'ai Feng-fu, province of 

According to the able Sinologue, Professor F. Hirth, Ph.D. 

[xvi] 



HISTORICAL 

Honan. A variety of colored glazes was produced at these kilns ; native 
documents describe the aubergine purple of manganese, or the violet of the 
skin of wild apples (" Kia-pi-pe ") ; another shade is likened to the color of 
prune-skins (" Mei-tseu-tsing ") ; a vermilion-red is also referred to; and 
the "moonlight" glaze we know as "clair de lune." Objects were also 
produced showing a variegated glazing, called " Yao-pien " by the Chinese, 
" transmutation " by the English, and " flambe " by the French. From this 
we may gather that the potters of Chun have attempted innovations, at 
least in colors, if not in forms. 

It is also evident that the paste varied much in quality, as a sandy-yellow- 
ish paste is referred to in the annals, made at other factories, which could 
only have been coarse and inferior to the paste used on the " transmuta- 
tion" and celadon objects at the Chun kilns. 

In the Chinese Chronicle translated by M. Julien it is stated that in the 
district of Ki-tcheou (Chi-chow : later called Lou Lin-h'ieng) two clever 
artist potters worked together : Chou-ong (" venerable Chou ") produced 
many curiosities in porcelain, such as birds and animals ; but the daughter, 
Chou-ciao(" belle Chou"), surpassed her father in fineness of workmanship 
and ornamentation. Their productions, of whatever color, sold for almost 
as high as the porcelains of Chang, the elder of the two famed brothers 
before referred to. Five kilns in the district are mentioned, and their com- 
bined product came to the market at Yong-ho, and was called" Ki-tcheou- 
yao" ; but the porcelain of the Chou family was most highly esteemed. 

When the dynasty of Sung passed southward to Hang-chou ( A.D. 1 1 27), 
a superintendent or officer named Shao Ch'ing Chang established a small 
factory or kiln in the new capital, and made porcelain of a good quality, 
called "Nei-yao" (porcelain of the palace), and specially noted for its bril- 
liant color and transparent enamel. It was also called " Kuan-yao " (porce- 
lain of the government), to distinguish it from that made under the Sungs 
of the North, or at the eastern capital. 

Under the Mongolian dynasty of Yuan (1260-1367), a tax was put 
upon all porcelain not made for the palace, for which reason the industry 
materially suffered and also retrograded. 

[xvii] 



HISTORICAL 

In the fourth volume of (Chinese) " Porcelains made at King-t6-tchin " 
(translated by M. Julien) is mentioned a potter, named P'ong-kiun-pao 
(or Peng Chiin-pao), who established himself at Ho-cheou, in the prov- 
ince of King-nan-tchin ; among the pieces enumerated as made by him are 
white vases called " Che-yao," which indicates a form with compressed 
center, like a beaker. This artist excelled, however, in copying ancient 
vases, such as " Ho-yao " and " Ting-chou " (known as "New Ting-yao"), 
and it is recorded that his best copies were difficult to distinguish from 
the older products. 

The same author also states that a porcelain called "Tch'u-fu-yao" was 
made for the Emperor ; and that the material was white and plastic, the 
ornamentation-flowers, etc., being modeled in the paste and then enam- 
eled. 

It is elsewhere recorded that a porcelain called "Shu-fu-yao" was 
white and thin, with engraved decoration, said to have been copied from 
the white "Ting-chou " examples of the northern Sung dynasty. 1 Nearly 
all these objects in porcelain were made after ancient models of the Han 
dynasty; a large number were sacrificial vessels, incense-burners, copied 
from objects made in the remote bronze era. 

Large vases and bowls were also made in brilliant monochrome glazes. 
A reference is made to the talent of decoration which developed in his 
period, but which appears to have been confined to coarsely painted 
flowers or filling out engraved lines with colored enamels for the empha- 
sizing of certain details. 

Other vases, it is stated by native authors, were made in the countries 
east and west of Che-king, or Chien-chang, that had grace and elegance 
like those of ancient make ; but the kilns fell into disuse, and not a ves- 
tige remains of the factories. It is presumed that the porcelain coming 
from some of these provinces was gritty, and therefore counted as unfit 

1 Hsiang Tzii-ching, after describing a speci- (the Ming), of the reign of Yung-lo and Hsiian-te, 

men of Shu-fu porcelain decorated with dragons decorated with patterns engraved under a white 

in the midst of clouds, and with lion's-head handles, glaze, was made after this Shu-fu porcelain, which 

all faintly engraved in the paste under a white was itself copied from the Ting-chou porcelain of 

glaze, states that "the porcelain of his own dynasty the northern Sung dynasty." 

[ xviii] 



HISTORICAL 

for the palace. The fact is, that while nearly all details on porcelain 
given by native authors are more or less faulty in description, or scanty in 
the extreme, it is especially so with the products made outside of Impe- 
rial factories ; they are particularly wrapped in mystery, and will doubt- 
less remain so. 

The foregoing outlines concerning the early history of ceramics are de- 
rived from trustworthy translations of Chinese literature, and may be suf- 
ficient here to follow the progress of this art from the remote periods of 
which we have native testimony to this, the present dynasty. The Chinese 
are conceded to have been the first to make porcelain, but their claims to 
its greater antiquity have been refuted by Western Sinologues. The real 
advent of porcelain, according to the views of these authorities, dates from 
between the seventh and ninth centuries, the exact period, as it may ap- 
pear, being in dispute. 

The descriptions of the varieties of porcelain hitherto enumerated pos- 
sess, besides their historical interest, some value in that we may trace back 
certain well-defined types and colors. 

Very few specimens manufactured prior to the advent of the Sung dy- 
nasty have survived to the present day ; and even of the Sung and Yuan 
productions the originals and finer kinds have almost entirely disappeared. 
Such specimens as have withstood the many dangers of the subsequent 
eight centuries are chiefly celadons of considerable solidity (Lung-ch'iian or 
Chiin-chou porcelain), small pieces of crackle ware, and probably a few 
porcelains of Ting or Ting-chou. As far back as three centuries, even 
the best varieties of older products were already scarce, and this is made 
evident from the literature of that period, notably from the catalogue and 
descriptions preserved by Hsiang Tsii-ching, who then stated that certain 
examples seen by him were almost unique. Therefore it is assumed that 
many pieces, presumably early Sung, Tang, or Sui, Chin, Wei, and Han, 
are only reproductions made by clever copyists of the later Sungs, or under 
the Yuan and Ming dynasties, if not of even later periods. 

Under the Ming dynasty (1368-1643), owing to its length and the 
peaceful conditions of the country, the manufacture of porcelain received 

[xix] 



HISTORICAL 

the greatest development ; kilns were increased, a number of artists and 
clever workmen were named for personal achievements in their art, and quan- 
tities of fine specimens in polychrome colors were produced. The advent 
of "blue and white "porcelain may be particularly attributed to this dy- 
nasty, as its manufacture predominated among the products of at least three 
noted periods, the examples being so remarkable that antiquarians of 
China, as well as Western virtuosi or collectors, keep up a continuous 
search for them. 

It may be stated that " blue and white " porcelain started with the first 
period of the Ming dynasty, if not at the close of the former dynasty of 
Mongols, as a reference is made by Chinese writers to a porcelain deco- 
rated in blue, said to have been produced at Lin-ch'uan in the department 
of Fu-chou, and at Nan-feng in the department of Chien-chang, both in 
province of Kiangsi, at the end of the Yuan dynasty. 

These two products appear to have been much preferred to the kind 
made at the Imperial factories (King-te-chen), and soon became famous. 

During the reign of Hung-wu (1368-1398), the first Ming emperor, a 
special factory was established at the foot of Mount Tch'ou-chan in King- 
te-chen (Ching-te-chen), where the products intended for the palace were 
specially made, and where a fine quality of porcelain was also produced 
for the magistrates. The Emperor ordered all vases to be inscribed with 
the date-mark of four or six characters, the former giving the "Nien-hao" 
(Imperial name), and the latter including the name of his dynasty. In 
this period several colors were in vogue — blue, black, and a pure white, 
this last being most esteemed. 

The period of Yung-lo (l 403-1426), of the Ming dynasty, is among the 
most noted. Objects were produced, as in other periods, of varying 
quality, but the finest porcelains are of special interest and value. The 
"blue and white" porcelain of this era, ranking very high, is perhaps ex- 
celled only by those fine soft-paste objects produced under Hsiian-t£, the 
succeeding period, and that of Ch'eng-hua, a later but most flourishing era. 

It is stated in the annals of Feou-liang that the blue employed was 
brought from some Mohammedan country (Persia or Arabia) as a tribute, 

[xx] 



HISTORICAL 

and famed as "Mohammedan blue," or "Su-ma-ni," to distinguish it from 
the native blue, found to be very much inferior. 

This epoch was also noted for a brilliant-red decoration, employed on 
vases and sometimes on the exterior of bowls or cups having a blue and 
white interior design. 

Mention is made by native and other authors of fine egg-shell porcelain 
produced during this period, called "T'ho-tai"or "T'o-tai," "bodiless," 1 
and being "as thin as paper." A series of fine cups and bowls are de- 
scribed, as used either for wine or tea, with dragons and phoenixes among 
clouds, and other delicate ornamentation of flowers, faintly engraved and 
glazed in white enamel, this decoration appearing only when held to the 
light, or showing more plainly when filled with liquid. 

The period of Hsiian-te (1426-1435) is most highly praised by the na- 
tive authors, sharing with the former era of this dynasty considerable dis- 
tinction, on account of the fine "Mohammedan blue" used for decora- 
tion. Some authorities state that this beautiful dark-blue ("Su-ma-ni") 
material (for embellishing porcelain) was first used under this Emperor, 
although the annals of the Imperial factories refer to this blue under Yung- 
lo, as above shown. A brilliant red like fresh blood, also valued, was said 
to have been obtained by crushing a precious red-colored stone brought 
from the West (Julien). An author styled Hsiang Tzii-ching, a native of 
Chia-ho, writing on porcelains of his dynasty, the Mings (near the close 
of the sixteenth century), stated that this highly prized red glaze was 
derived from powdered rubies, so that after baking in the kiln this bril- 
liant coloring shone through the red glaze. 2 It was known as "Pao-shi- 
hung," or "precious-stone red." 3 

One of the descriptions left by this author (Tzii-ching) reads: 

A wine-pot 6.50 inches high, copied from a similar vessel of carved jade used by the 
Emperor. " The body, slender below, swelling toward the top, is decorated with en- 

1 "Bodiless" may also indicate objects made 2 Dr. Bushell believes that this red was from 

throughout of pure porcelain instead of (as in the copper silicate, and not from powdered rubies, 
case of some productions of this period) showing 3 Analyzed by M.Salvetat at Sevres, and proved 

a combination of coarser materials only coated merely to be "oxyde de fer avec du fondant." 
with porcelain. 

[xxi] 



HISTORICAL 

graved cloud scrolls, and bands of geometrical and spiral pattern, with conical cover, 
spirally curved handle, and spout molded and engraved in the form of a phoenix head, 
all covered with deep red (chi-hung) glaze." 

It is said to have cost the owner two hundred ingots of silver in paper 
notes. 1 

Fish-vessels, or jars decorated with three red fish on a pure "snow- 
white" ground, were much esteemed, the fish being boldly outlined and 
red as "fresh blood." Occasionally these fish would be represented swim- 
ming on the waves engraved in the paste, both on the inside and outside. 

A still rarer decoration, found on a wine-cup, is described as 

"The white ground decorated inside and outside with cloud scrolls engraved in the 
paste, a scroll border above colored crimson; the handle, a dragon of bold design, 
molded in high relief, coiled round the top, 2 with teeth and four claws fixed in the 
rim, enameled vermilion-red." 

Among the ceramists recorded, mention is made of two sisters named 
T'a-sieou, who produced delicate cups and other objects with the designs 
engraved in the paste. "White vases with blue decoration" were also 
much esteemed, especially if the blue was pale, and where the ground 
resembled an orange-peel surface, or a faint millet-like elevation. Poly- 
chrome decoration, which included the fine red and blue (usually under 
the glaze), was also successfully practised and esteemed as something new. 

Among objects enumerated by the native author may be noted minia- 
ture vases, called "P'ing"; tea-cups, "CrTa Pei"; conical wine-cups, 
'Tou-li Pei"; wine-pots, "Hu"; rouge-box, "Lu Hu"; tazza-shaped 
cups, "Pa Pei"; sacrificial vessels, "Yi"; water-dropper, "Shui-chu." 

This period is specially credited with the introduction of the then new 
method of perforated decoration; a pattern being cut through the paste 
and dipped into glaze, which, when baked, shows the pierced work filled 
up with a thin film of glaze, giving a delicate transparency to the design 

1 A sum estimated to be equivalent to about the Chinese when intact, partly because of the 
three thousand dollars (Bushell). artistic ability required successfully to execute the 

2 Vessels with a dragon molded in relief upon design, and partly because old specimens are sel- 
the rim are, it may be added, highly esteemed by dom met with undamaged. 

[ xxii ] 



HISTORICAL 

when held to the light. This process has been imitated in Persia as well 
as in Europe. 

The Ch'eng-hua period (1465-1487) of the Mings, one of the most 
important in ceramic annals, was noted for its blue as well as other deco- 
ration, although it is stated that the supply of fine blue, previously used, 
became exhausted, and that this color on porcelain became inferior in 
quality; while the polychrome painting was brought to a high degree of 
excellence. An account of the so-called five-color decoration, as we 
know it to-day, is also given; the colors referred to, other than blue, are 
green, yellow, red, and the manganese, applied on the glazed body, with 
the blue always under the glaze. 

During the reign of this Emperor all porcelain painted in these colors 
was most highly valued; the designs for its decoration were drawn by cele- 
brated artists, and some are said even to have been drawn in the palace. 
The forms were elegant and original, and the different colors carefully ap- 
plied; from the specimens, as we see them now, we may gather that great 
progress was made in designs from nature ; that flowers and plants were 
the objects of special studies, and that motives were supplied by the best 
painters, if they did not paint upon the porcelain itself. 

In this period is mentioned a distinguished artist named Kao-than-jin, 
who made jars decorated with "peonies" and "chickens." Another 
potter, named Ko-tchou, is famed for his wine-cups. 1 It is said that their 
numerous products served as models for future periods. 

During the reign of Hun-chih (1488-1505) a native named Hsiang 
Yuan-pien (called also Hsiang Tzu-ching) stated in his notes, written in 
the sixteenth century, that a light yellow was most highly valued, but 
glazing or enameling in other colors was also practised. The shades of 
yellow varied from light to a brown as on a boiled or newly husked 
chestnut. An orange shade, and the color of a hibiscus flower, are also 
mentioned in the same chronicles. 

1 Hsiang Tzii-ching thus describes a pair of cockscombs, narcissus, and other flowers, the fly- 

these cups : " They are of rounded form, swelling ing dragon-fly and crawling mantis, painted after 

below, so thin and delicate that one weighs less life, in green, yellow, and crimson enamel." 
than a third of an ounce, and decorated with the 

[xxiii] 



HISTORICAL 

In the period of Cheng-te (l 506-1 52 1) we find " Mohammedan blue " 
again referred to, and that the Governor of Yiinnan succeeded in obtain- 
ing it. Some writers give this particular epoch the credit for its discovery. 
This famous " Hoe'i-tsing," or cobalt, was by the Emperor's command 
used to decorate Imperial porcelain, and during this period was called " great 
blue " and also "blue of the head of Buddha." This beautiful color, of 
such superior quality that it cost more than twice its weight in gold, is again 
referred to in annals as coming from the West and through Arabia (prob- 
ably from Persia). 

With this material ceramists were again able to produce a blue similar 
to that on the pieces produced under the Emperor Hsiian-te, so that "blue 
and white " came into fashion once more. Genuine examples are to-day 
very rare, and marks of these periods cannot be relied upon, as attempts 
have been made in all succeeding eras to reproduce such objects. Two 
brilliant kinds of red-glazed porcelain were also prized, and over-glaze 
decoration is also referred to in this era. 

In the reign of Chia-ching, or Kia-tsing (1522-1566), it is stated that a 
great deal of "blue and white" was made. The blue was preferred if 
darker in color, differing from the pale blue of the former period ; and the 
authors say that the best was a mixture of the foreign and native cobalt, 
as the former was apt to " run " when in the kiln. 

The foreign blue, however, failed again in later years of this reign ; and, 
finally, is no longer mentioned in Chinese ceramic annals. 

Decorated porcelain was characterized by the fine, deep colors employed, 
and cobalt-blue (under the glaze) was often used in connection with a bril- 
liant red, yellow, violet, and bluish-green (over the glaze) on a white ground 
and at the present time designated as "five-color" pieces. 

Records of this period enumerate especially sacrificial cups ("Tan-sien") 
that imitated white jade and were intended for the palace altars; small 
"rouge-boxes" and other cups are also named, and it is stated that single- 
color glazes were used, but that one of the supplies (red of copper) failed. 
It is also recorded, as in the former epoch, that the Emperor ordered the 
decoration of Imperial porcelain to be blue. 

[ xxiv ] 



HISTORICAL 

During this and the succeeding period, Lung-ch'ien (l 567-1 572), lived a 
clever potter named Ts'ui-kong (venerable Ts'iii), who was celebrated for 
his copies of objects made in earlier periods; his porcelains were con- 
sidered the finest of his time. A manufactory of porcelain was also estab- 
lished in the province of Tche-kiang (Julien) ; the product, however, was 
considered inferior to that made at King-te-chen. 

This later reign is particularly noted for certain porcelains that were in- 
spired by much older specimens, and especially for decoration by colored 
glazes on "biscuit" paste. These specimens were thinly glazed in rich 
tones: i.e., manganese-purple, yellow, turquoise, and red. When the or- 
namentation was in relief, or engraved, differences of outline and surface 
would keep the different-colored glazes distinct. 

The Lung-ch'ien period (1567-1572) is especially noted through 
the existence at that time of a potter who settled at King-te-chen and 
produced a great variety of objects, some of which excelled in the 
imitation of antiques, — " amateurs disputing for its possession as soon 
as it left his hands." It is also mentioned " that they did not mind 
paying enormous prices for small pieces." This statement is interesting 
as showing that the really fine pieces were not always intended for the 
palace. 

With the exception of the so-called "Mohammedan blue," there is no 
tint of cobalt which cannot be found in this latter porcelain. During this 
reign, and especially that of Wan-li, which followed, the government was 
harassed by the Manchu Tartars, who eventually established the (present) 
Ch'ing dynasty. The porcelains produced during these periods are very 
much alike. While the product was enormous and large orders came 
for the use of the palace, the deterioration of the porcelain, especially 
of the wares made at the Imperial factories, became marked, largely owing 
to the disorder of the empire and to the failure in the supply of good 
materials. 

In the period of Wan-li (1573-1619), many distinguished ceramists are 
mentioned in the Chinese chronicles, on account of their skill in making 
reproductions of older porcelains, especially the famous " Chiin-yao" porce- 

[xxvl 



HISTORICAL 

lain, of the Sung dynasty, and the so-called porcelains of the magistrates, 
termed " Kuan-yao," which were noted in the twelfth century. At Feou- 
liang lived the most famous of these Wan-li potters, who retired secretly 
to a porcelain-factory, where he was able to make vases of charming ele- 
gance. He took the name of Ouin-tao-jin (or Hu-yin-tao-jen), "the old 
man who lives in retreat." Among his other products mentioned in detail 
are vases of a purple color, in imitation of antique porcelain. It may be 
interesting to note this later color, as it is possible that the bluish tone of 
the prune-skin (manganese) is referred to under the Sungs, instead of a 
kind of celadon. 

Much painting was done over the glaze, and the pieces so decorated 
are the " three-color" and " five-color " pieces which have in late years 
especially reached the Western world. 

The so-called three-color pieces of this dynasty show a glazing in yel- 
low, purple, and green. The yellow is usually of a buff shade, and some- 
times dull ; the purple varies from a brownish mouse- to prune-color ; and 
the green also varies from a yellowish-green to a strong emerald-color. 

The "five-color" specimens are, in fact, blue and white pieces with 
yellow-green, purple, and red painting over the glaze. The red color is 
usually opaque and varies in brilliancy from a coral-color to a dull, uneven 
sienna-red, the other glazes being more or less clear and transparent, with 
the exception, perhaps, of the brown-toned (manganese) purple, although 
in fine pieces this color is light and shades into a violet of clear transpar- 
ency. 

In these "five-color" decorations, the portions of the design meant to 
remain blue were first painted, and the pieces glazed and baked"; then the 
rest of the painting (in the other colors) was added over the glaze, and 
the object baked again, at a lower temperature. The essential differ- 
ence is, that the blue is always under and not over the glaze, whether 
in the Wan-li or other Ming periods; while later, under Kang-hsi, for 
example, a vitreous blue enamel is generally used over the glaze, although 
in rare pieces a blue margin-line under the glaze may be noted, especially 
on the " seven-color " specimens. 

[ xxvi] 



HISTORICAL 

It is clearly evident that some potters have practised their art quite 
independently, or have established kilns that disappeared with them, and 
of these we have no records whatever. This fact may in some measure 
account for the many specimens now remaining unidentified. 

Very little is chronicled or known about the ceramics produced under 
Shun-che, the first Emperor of this Manchu Tartar dynasty, who ascended 
the throne in 1644 and died in 1661. 

The country remained in a rather disturbed state during his reign, and 
it is therefore doubtful if porcelain was manufactured in any quantity, as 
pieces so marked are exceedingly scarce. It is also probable that most of 
the products bear Ming marks, and when without marks are possibly 
classed under the former dynasty. 

The Imperial factories at King-te-chen, which remained closed during 
the last years of the Ming dynasty, were not reopened until the Manchu 
sovereign had firmly seated himself upon the throne. 

The Emperor K'ang-hsi, who reigned from 1 662 to 1 722, was perhaps 
the most able ruler China ever possessed, succeeding to the throne of his 
father when but eight years old. Within six years, when at the age of 
fourteen, realizing that the regents did not understand the science of gov- 
erning, he took the reins in his own hands, ruling with consummate skill 
until his death in December, 1 722. This Emperor was endowed with 
natural ability, activity of mind and body, and interested himself in every 
department. A keen sportsman and a great general, he was at the same 
time given to learning, and fostered the arts, availing himself also in his 
studies of the assistance of French Jesuit missionaries in astronomy, mathe- 
matics, and geometry, and on this account aided them often in their diffi- 
culties with the Chinese literary classes. 

The potteries in the town of King-te-chen (Ching-te-chen) prospered 
greatly during his reign, marked strides were made in the manufacture and 
decoration of porcelain, and some of the finest examples extant to-day, 
here under our eyes, were produced toward the middle of his reign. 

This Emperor selected the most suitable men not only for the various 
government offices to diffuse education and to encourage art, but great 

[ xxvii ] 



HISTORICAL 

potters to take charge of the Imperial porcelain works in the prefec- 
ture of King-te-chen (Ching-te-chen). The factories were not slow to 
show the effect of these changes and the kilns also soon increased in 
number. 

The Imperial factory was burned in 1675, during the rebellion of 
Wu San-kuei, but was soon rebuilt, and in 1 680 a large order was given 
from the palace. The factories at this time were under the supervision 
of Lang-ting-so, a name that is great in ceramic history, who retained his 
office until 1 688 ; and his product, known as Lang porcelain (called by 
the Chinese, after the inventor, "Lang-yao") is held in the highest esteem 
by collectors and connoisseurs. 

Another superintendent, Ts'ing-ying-hsuan, was appointed in 1 683 for 
the Imperial factory, and "Ts'ing-yao" is the porcelain attributed to his 
invention or period of superintendence. 

To these men is due the credit for the renaissance of ceramic art in the 
reign of the Emperor K'ang-hsi. 

We have the first descriptions, during the reign of K'ang-hsi, of the 
factories of King-te-chen, written by Pere d'Entrecolles, a missionary of the 
Society of Jesus, who arrived in China during the year 1 700, and while 
there wrote three reports, dated Jao-tcheou, in the province of Feou-liang, 
giving an account of the town where the Imperial factory of porcelain was 
situated. In a letter dated September 1 , 1 7 1 2, he stated that while his curi- 
osity would not have led him to study the subject of the production of 
porcelain, he felt that it might be of service to his country and to Europe, 
and therefore availed himself of his opportunities. "The town of King-te- 
tchin," he writes, "is only three miles distant from, and a dependency of, 
Feou-liang, situated in a plain, and is surrounded by high mountains; the 
one to the east, against which the town is built, is outwardly in form of a 
semicircle, and from the two adjacent mountains issue two rivers which 
unite: one is small, the other very large, and their confluence forms a mag- 
nificent port over three miles in length, and a vast basin wherein the river 
loses much of its velocity. Frequently in this large harbor are moored two 
or three rows of junks. Entering the port, the sight is greeted by immense 

[ xxviii ] 



HISTORICAL 

volumes of smoke and flames, 1 which mark the outlines of the town against 
the crescent of mountains in the background, whose relative position may 
perhaps be the reason that King-te-tchin has surpassed all other localities 
in the production of porcelain." 

The short reign of the Emperor Yung-cheng (1723-1735), following 
that of his father, K'ang-hsi, was nevertheless a most interesting period 
in Chinese ceramic art. Yung-cheng, like his father before him, appears 
to have taken great interest in all that transpired at the Imperial factories, 
situated in the town of King-te-chen (Ching-te-chen), and did not fail 
in expressing his gratification at every new discovery, bestowing praise 
and admiration upon all such products as they arrived at the Peking 
Palace. 

As the rose-carmine color, derived from chloride of gold, was discov- 
ered during that period, decorators were naturally attracted by its mag- 
nificence, and it at once dominated their work. This important innovation 
also introduced many new varieties in half-tones with felicitous effects, but 
the true explanation may doubtless be found in the superior skill and energy 
displayed by the superintendent, Nien-hsi-yao, 2 who in 1 727 was intrusted 
with the management of the Imperial factory, and he personally super- 
intended the execution of the Emperor's orders, and was soon there- 
after joined by T'ang-ying, a brilliant decorator (who succeeded to the 
directorship later, under Ch'ien-lung). They jointly acquired great repu- 
tation, Chinese writers giving both officials credit for special practical 
knowledge; they, however, also enlisted the services of the most able 
decorators and potters, and were thus able to create objects that were 
new or free from archaic imitations, and so this era became transitional as 
well as interesting. 

1 And bird-like poise on balanced wing Incessantly, and fill the air 

Above the town of King-te-tchin, — With smoke uprising, gyre on gyre, 

A burning town or seeming so, — And painted by the lurid glare 

Three thousand furnaces that glow Of jets and flashes of red fire. 

Longfellow, " Keramos." 

2 All the articles made by Nien-hsi-yao — which They were chiefly monochrome in color, but 
are known as "Nien-yao," or Nien porcelain — some were ornamented with painted flowers, 
were graceful in form and of fine workmanship, either incised or rendered flat. 

[xxix] 



79 



HISTORICAL 

The products of this epoch show a gradual reduction into toned enam- 
els from the transparent and clear-colored glazes employed during the 
K'ang-hsi regime. 

The strong and vigorous rendering which marks specimens of the seven- 
teenth century merged into half-tones and more careful finish, but it also 
became more hard and stencil-like in exactness. 

Superabundant detail in accessories marks many objects of the eigh- 
teenth century originated under Yung-cheng. The great master-painting 
and -drawing of the Sung and Yuan dynasties were copied, but the decora- 
tive force was weakened by added detail or by scrupulous care in finish, 
largely the fault of European demands and doubtless extra cost. On the 
other hand there exist specimens, which belong also to this period, that 
are of great perfection both in technique and purity of paste, where decora- 
tion subordinates itself with tact and is arranged so that the pellucid 
quality of the porcelain is seen to advantage. Especially is this so in 
smaller pieces, where the skill of workmanship is most remarkable. 

Naturalistic floral decoration was certainly carried to a perfection un- 
known before; also, much refinement in shape as well as decoration is to 
be found on the truly great pieces (palace objects), which were until very 
recent years unrevealed to the Western world. 

The dominant rose-color superseded the green of the preceding peri- 
ods. The successive predominance of these colors induced Jacquemart 
to group them in two classes, — Le„ "famille verte" and "famille "rose, 
— which designations may not be very technical, but satisfactorily express 
the characteristics of each type, and are now accepted generally, after 
some attempts to change them. 

The blue and white porcelain of this era is inferior to that of former 
epochs, especially owing to the uniform hardness and regularity in design ; 
but the fineness and perfect quality of the material give some distinction 
and beauty to such pieces. 

Porcelain was not looked upon in this period merely as a vehicle for 
decoration, but a thing to be admired in itself, hence some wonderful white 
specimens exist that are marvels in technique and finish. 

[xxx] 



HISTORICAL 

This period was marked also by the production of certain types and 
objects which are masterpieces of the Chinese ceramists' ingenuity and 
skilful workmanship. Aside from the delicate egg-shell plates with the 
rose backs and wonderful painting, may be mentioned the vases having 
the body formed of double shells with varying modes of openwork and 
painted decorations in both, and the beautiful hexagonal and octagonal lan- 
terns of delicate egg-shell porcelain, reticulated and ornamented with 
paintings at once both rare and esteemed for their rich quality. 

The fourth Emperor of the present dynasty was Ch'ien-lung (1736- 
1 795) the son and successor of Yung-cheng ; and he also protected the 
ceramic industry with royal munificence during the sixty years of his reign. 

In this period great quantities of fine porcelain were made, and it was 
during this reign that European influence began to affect the decoration 
and the shapes of Chinese porcelain, due especially to the trade with Hol- 
land and the Jesuit missionaries of France, which, started during the short 
term of Yung-cheng, spread very rapidly. 

Imitation of old wares was practised, but rather for native collectors. 
Some writers state that a great number of genuine pieces of the Sung 
and Ming dynasties were sent from the palace to King-te-chen (Ching- 
te-chen) as models for this purpose, although imitation of ancient objects 
always existed, as shown by native records, and also by the Jesuit fathers 
at the close of the seventeenth century. 

The director T'ang-ying, mentioned in the reign of Yung-cheng, con- 
tinued his work and produced objects that surpassed all others. He suc- 
ceeded in reproducing the effect in porcelain of precious carved enamels, 
and that of cloisonne. The desire to imitate other substances, which had 
from the first animated the ceramic artists of China, culminated in this 
reign with their mastery over colors and combinations. 

They copied with wonderful closeness objects in gold, silver, bronze, 
jade, lacquer, mother-of-pearl, shells, rhinoceros horn, bamboo, wood, 
gourd-skin, marble, carnelian, agate, and archaic or rusted iron. They imi- 
tated also, at least in pattern and color, bottles of Venetian glass and 
Limoges enamels. 

[ xxxi ] 



HISTORICAL 

Special attention was paid at this time (Yung-cheng and Ch'ien-lung) 
to the production of " Yao-pien," 1 flambe\ of which Chinese writers dis- 
tinguish three kinds, i.e., two supposed to be due to celestial agency, 
and the third to human ingenuity. 

Oxidulated copper furnishes vitrifiable painting with a fine red. This, 
thrown in a body on a vase, forms the tint called "haricot," a kind of 
fawn-color. With a further quantity of oxygen of equal amount a pro- 
toxide is formed, producing a beautiful green that may be changed into 
sky-blue by increasing the oxygenation. The tints upon a vase may be 
modified indefinitely by a due regulation, at different periods during the 
process of baking, of the currents of air admitted ; or, 

When a clear fire placed in a strong current draws a considerable column of air, all 
the oxygen is not consumed, and part of it combines with the metal ; if, on the other 
hand, thick smoke is introduced into the furnace, of which the carbonaceous mass, 
greedy of oxygen, absorbs everywhere this gas, necessary for its combustion, the oxides 
will be destroyed and the metal completely restored. Placed at a given moment in these 
given conditions, by the rapid and simultaneous introduction of currents of air and of 
sooty vapors the " haricot " glaze assumes a most picturesque appearance ; the whole 
surface of the piece becomes diapered with veins and streaked colorations, changing and 
capricious as the flame of spirits ; the red oxidulate, passing by violet into pale blue and 
to the green protoxide, evaporates itself even completely upon certain projections which 
become white, and thus furnishes happy accidental combinations. (Jacquemart.) 

On the whole, the Ch'ien-lung period was distinguished by mastery of 
materials, from the plain "self-glazed" piece to the richest landscape, 
figure, and flower enamelings, and from the plain surface to the most elabo- 
rate modeling and perforations. 

1 In the Buddhist temple Pao-kuo-ssu, in Pe- of which, in an ode from his pen engraved on the 
king, is a famous " Yao-pien" image of Yuanyin, shrine, the Emperor Ch'ien-lung says the goddess 
a finely designed figure enameled in colors — light descended into the kiln to fashion an exact like- 
blue, crimson, yellow, and two shades of brown ; ness of herself. 



[ xxxii ] 



BLUE AND WHITE 

ALTHOUGH no mention is made of painting or decoration in blue before 
the Yuan dynasty (notable for " Lin-ch'uan-yao " and " Nan-teng-yao "), 
yet blue was from the earliest times one of the most favored colors. We 
may note that in the Chin dynasty (266-419) blue porcelain (or pottery) 
was called " P'iao-tz'u," said by Dr. Bushell to resemble a certain pale- 
blue shade of silk. 

In the T'ang dynasty this blue was called the "color of the distant 
hills"; in the posterior Chou dynasty (954-959), the "blue of the sky after 
rain." In another period it was called the " prohibited color," because it 
was reserved for the Emperor or the palace, and not to be seen by the 
common people. Under the Sung dynasty (960-1279), although other 
colors were also used, the famous porcelain of Ju-chou was of a pale-blue 
glaze. The finest Imperial porcelain of this epoch was a sort of peacock- 
blue, and the crackled "Ko-yao," although mostly celadon, contained 
some specimens of a bluish tinge like the celebrated monochrome porce- 
lains of Lung-ch'uan. 

As no reference is made in early Chinese literature to blue decoration, 
Mr. Monkhouse aptly concluded, in his critical notes, that "blue and 
white, for practical purposes (that is, for a collector), commenced with 
the Ming dynasty " ; and this refers especially to Wan-li, Hsuan-te, 
Cheng-te, and Chia-ching, although later, in the Ch'eng-hua period, the 
foreign blue failing, the Chinese used their native blue, prepared from 
cobaltiferous ore of manganese. However, during the K'ang-hsi period 
it may be said that, with the exception of the fine " Mohammedan blue " 
("Su-ma-ni" or "Su-ni-po"), there is no tint of cobalt which cannot 
be found. While the Ming blue is boldly painted and dark, and also 
distinguishable by more massive forms, the later blue and white porcelain 

[1] 



A CATALOGUE OF 

is finer in paste and technical perfection, and possesses a gradation and 
palpitating quality of color which particularly gives it a charm that one 
may miss in older types. 

The blue of cobalt differed in its shades at different periods in China, 
as appears by statistics; and it requires an acute color sense to define the 
niceties and distinctions of one kind from another, without taking into 
account the different pastes or glazing as well as forms. Each period 
has varied certain shapes, and this variation, however slight, is sufficient for 
the Western connoisseur to place the provenance of an object in 
accordance. 



[2] 



A C/ 

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eredi. fe ent periods in China, 

e color sense to define the 
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glazi; 11 as forms. Each period 

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[2] 




I 







V 



CHINESE PORCELAINS 



No. 1 

Blue Hawthorn Beaker, cabinet size, with wide, flaring neck ; fine white 
hard-textured porcelain, perfectly glazed over the blue painting, which 
sustains its transparent quality uniformly and agreeably. 

The prunus-tree motive starting from the base covers the entire body by its branch- 
ing stems, bearing large blossoms and buds, which are carefully held in white reserve 
from the relucent blue ground, that is penciled over with darker crossings and reticula- 
tions to represent cracking ice, similar in design and coloring to the rare ginger-jars of 
this class. 

The details of this design are rendered with freedom by a master hand, on a paste 
of faultless quality that with its glaze is exceedingly soft to the touch and of rather 
oily texture. 

The base shows a broad white margin and a clean-cut foot, which underneath bears 
a double blue ring-mark, under glaze, and typical of its ascribed period, K'ang-hsi 
(1662-1722). 

Height, 9 3 Aj inches. 
Diameter, 5 3 / 4 inches at rim. 



[31 



A CATALOGUE OF 



No. 2 



Pair of Jars, blue hawthorn pattern, cylindrical form, with low bell- 
shaped covers, fine hard-paste porcelain, invested with a brilliant-blue 
painting under a faultless glazing. 

The decoration presents a modulated and translucent blue ground, with network 
and crossings in a darker shade to resemble the fissures in breaking ice, interrupted by 
foliated and fan-shaped medallions, and clusters of prunus or peach blossoms, in white 
reserve, distributed here and there over the blue field. 

The several panels sustain flowers and herbage growing amid or near large silicic 
pointed rocks, all carefully rendered in relucent blue of varying shades. 

The covers, with knobs, are similarly decorated, and also include fan and leaf me- 
dallions with flowers. 

A white margin is shown at rim and base. 

The underneath foot bears a double blue ring-mark under the glaze. 

Period of K'ang-hsi (1 662-1 722). 

Height, 7 V2 inches. 
Diameter, 5 '/ 2 inches. 



[4] 



CHINESE PORCELAINS 



No. 3 

Pair of Blue and White Bottles, pear shaped, with slender necks, the fine 
white-textured porcelain sustaining a landscape decoration painted in 
brilliant shades of cobalt-blue under faultless glazing. 

Picturesque rocks, trees, shrubs, and water scene showing boatmen, with distant 
views of houses, complete a composition suggesting the work of old masters of the Ming 
or Sung period, that doubtless inspired the decorator of these objects during the period 
of their provenance. 

The neck, which is in white, is encircled at the top by several rings, including a 
fretted band. 

Era of K'ang-hsi (1662-1 722). 

Height, 7 V2 inches. 
Diameter, 4 inches. 



[5] 



fr 



A CATALOGUE OF 



No. 4 

Blue and White Bottle, cabinet size, pear shape, with long neck, of fine 
hard-paste porcelain with pellucid texture. 

The decoration, painted under a perfect glaze, in brilliant cobalt-blue, consists in the 
so-called " fan pattern " together with other panels showing symbolic and gift objects ; 
these are arranged in six separate vertically formed panels, the fan-shaped medallions 
displaying varying subjects carefully rendered, including figures with interior or landscape 
accessories. 

The neck is encircled at shoulder, center, and rim by a small " herring-bone "-fret 
border, from which spring foliated details in arabesque form and conventional lotus 
leaves in blue with white stems and outlines. 

Underneath foot is white, without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 10 inches. 
Diameter, 4'/2 inches. 



[6] 








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CHINESE PORCELAINS 



No. 5 



Covered Confection Bowl, blue and white, of globular shape and fine 
hard-paste porcelain, decorated in arabesque design involving four large 
lotus flowers, between scrolled stems, painted in dark blue under a 
translucent glaze. 

The shoulder is encircled by a small chevron fret band of a slightly lighter shade. 
The cover sustains a design similar to that of the bowl, and is tipped with a small 
grotesque " dog Fo." 

The underneath foot bears a leaf-mark. 
Era of K'ang-hsi (1662-1722). 

Height, 5 inches. 
Diameter, 3 7 /s inches. 



V] 



£« 



A CATALOGUE OF 



No. 6 



Small Jar, blue and white, slender ovoid form, fine hard-textured porcelain, 
with low flat cover. 

The motive of the decoration, which is in brilliant blue under a perfect glaze, consists 
in conventionalized " feather " or fern scrolls, involving small floral buds with a double 
lancet-shape interior : a symbolic design of ancient form found only on small objects of 
good quality. 

The small cover sustains a similar design. 

The foot bears a leaf-mark. 

Era of K'ang-hsi (1662-1722). 

Height, 6 3 / 8 inches. 
Diameter, 3 V4 inches. 



[8] 



CHINESE PORCELAINS 



No. 7 J 

Small Jar, blue and white, slender ovoid form, fine hard-textured porce- 
lain, with low flat cover. 

The motive of the decoration, which is in brilliant blue under a perfect glaze, consists 
in conventionalized " feather " or fern scrolls, involving small floral buds with a double 
lancet-shape interior : a symbolic design of ancient form found only on small objects of 
good quality. 

The small cover sustains a similar design. 

The foot bears a leaf-mark. 

Era of K'ang-hsi (1662-1 722). 

Height, 6 inches. 
Diameter, 3 inches. 



[9] 






A CATALOGUE OF 



No. 8 



Small Jar, blue and white, slender ovoid form, fine hard-textured porce- 
lain, without cover. 

The motive of the decoration, which is in brilliant blue under a perfect glaze, consists 
in conventionalized " feather " or fern scrolls, involving small floral buds with a double 
lancet-shape interior : a symbolic design of ancient form found only on small objects of 
good quality. 

The foot bears a leaf-mark. 

Era of K'ang-hsi (1662-1722). 

Height, 5 3 /s inches. 
Diameter, 3 inches. 



[10] 



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CHINESE PORCELAINS 



No. 9 

Blue and White Tea-pot, globular form, with small handle and spout : 
fine-textured hard-paste porcelain. 

The surface is uniformly covered with a brilliant blue ground, and shows a lotus 
arabesque design, in white reserve, involving a naked boy on each side, among the 
scrolled stems. 1 

A chevron fret borders the rim, and the cover is decorated to match, and carries a 
fine white arabesque motive with two shades of blue, and also tipped by a button. 

The handle and spout show the glazed white paste with simple decoration. 

The foot underneath bears a blue ring with a spherical object with ribbons, symbol 
of " the Pearl " {chin or chu). 

Era of K'ang-hsi (1662-1722). 

Height, 4 inches. 
Diameter, 4 inches. 

1 The combination of children and lotus flow- spotless. This motive is usually found only on 
ers is Buddhistic and supposed to show that the faultless porcelain, 
hearts of youth are good, as the flowers are 



[I'] 



A CATALOGUE OF 



No. 10 

Blue and White Tea-pot (ancient wine-vessel), of tall ovoid form, with 
attenuated neck and bell-shaped cover, the handle and spout of hard 
porcelain twisted to represent cords. 

The surface of the body shows slightly relieved white network, with diamond-shaped 
panels, painted in deep blue, under the glaze, including a small floral spray in white 
reserve. 

The shoulder and neck are uniformly decorated in floral arabesque design, and a 
similar flowered border finishes the base. 

The cover sustains an arabesque motive divided by lines into panels, and is tipped 
by a molded fruit knob. 

Under foot without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 6V2 inches. 
Diameter, 4 inches. 



[12] 



CHINESE PORCELAINS 



No. 11 



Blue and White Tea-pot, melon-shaped, with bamboo-formed handle and 
spout : hard-paste porcelain of fine white texture. 

The six grooved and outlined panels are each separately decorated with varying 
floral plants in jardinieres with stands. 

The small cover is topped by a small button, and is decorated to match motive below. 

The foot is without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 4' At inches. 
Diameter, 4 inches. 



[13] 






A CATALOGUE OF 



No. 12 



Pair of Small Bottles, blue and white, with compressed body and long 
cylindrical neck, of hard-paste porcelain. 

Decorated in a lotus-flower arabesque motive, boldly rendered in dark blue, under 
the glaze, with stems arranged in conventional form of ornament, characteristic of early 
periods. 

Long conventional lotus leaves surround the neck from the shoulder, and a small 
series of leaves encircle the upper part near the rim, that is finished by a chevron fret 
border. 

The base is surrounded by a series of dots arranged in groups on the white body. 

Era of K'ang-hsi (1662-1722). 

Height, 6V2 inches. 
Diameter, 3 74 inches. 



[14] 








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[14] 



CHINESE PORCELAINS 



No. 13 

Pair of Small Bottles, blue and white, pear-shaped, with small necks, 
white semi-soft-paste porcelain, perfect glazing, and pellucid color. 

The decoration is in two distinct shades of blue, painted before glazing, and repre- 
sents a combination of the so-called " lace pattern " and the triangular lancet border 
(surrounding the shoulder and base), curiously known as the " Vandyke pattern," a motive 
more analogous to the Chinese adaptation of the fungus " Ling-chi." 

The four foliated panels encircling the body show the blue filled in and leaving an 
effective arabesque design, in white reserve, involving a lotus flower : the same scheme 
is carried into shoulder and base borders and the small panels at neck. 

The neck is covered with a flowered diaper minutely drawn, ending at the rim in a 
chevron band. 

Foot bears a leaf-mark. 

Era of K'ang-hsi (1662-1722). 

Height, 7 '/ 2 inches. 
Diameter, 4 inches. 



[15] 



A CATALOGUE OF 



No. 14 

Pair of Blue and White Bottles, pyriform, with slightly compressed and 
raised body, ending in a long cylindrical neck : fine hard-paste porce- 
lain of perfect texture. 

The decoration, which is under brilliant glaze, presents two grotesque dragons 
(" Mang ") surrounded by flowers and conventionalized flames. 

The neck is encircled by ring-bands of various designs, including a nicely drawn open 
arabesque motive, together with a curious (em band, and long palm leaves, reaching 
near the top, which is finished by simple lines. 

The base is embellished with arabesques on a white ground, and the foot underneath 
bears a flower-mark. 

Era of K'ang-hsi (1662-1722). 

Height, 10 inches. 
Diameter, 4 3 /4 inches. 



[16] 






CHINESE PORCELAINS 



No. 1 5 

Blue and White Vase, cabinet size, cylindrical, with attenuated neck, of 
fine hard-textured porcelain decorated in cobalt-blue under a pellucid 
glazing. 

The design consists in numerous bands, several of which are painted in blue scrolled 
arabesques on a white ground; the others show blue groundwork with the designs in 
reserve: ue., in the band surrounding middle of vase, on which dragons are represented 
with conventionalized flames or nebulae, the ground-color presents a clear vibrating blue, 
and the pattern is sometimes designated as " dragon on band." 

Four set foliated panels near shoulder inclose white arabesques that involve small 
lotus flowers, surrounded by a free ornamental motive, jointly forming a rich bordering. 

A flowered chevron border also surrounds the shoulder and base, while the neck is 
inclosed by palm leaves with penciled stems, the remaining portion of neck being white ; 
two simple lines finish the under side of rim. 

The foot underneath is marked by a double rim. 

Its provenance is easily ascribable to the period of K'ang-hsi (1662-1722). 

Height, 1 1 '/ 8 inches. 
Diameter, 4 '/ 4 inches. 



[17] 



A CATALOGUE OF 



Garniture formed by five specimens, in "blue and white," of the so-called 
"Lange-lysen "* pattern, composed in the following order, and begin- 
ning with the center : 



No. 16 



Tall Jar-shaped Vase, with cover, of pure white hard-paste porcelain, 
painted in brilliant dark and lighter shades of blue upon a white body 
of translucent texture. 

The symmetrical design covering the vase presents a series of slightly raised lotus- 
petaled panels, which rise in three rows or tiers each doubly outlined in blue, sustain- 
ing flowering plants in varied jardinieres upon stands alternately with the graceful fig- 
ure of a lady on veranda with balustrade, attired in gracefully flowing robes in a style 
of the Ming dynasty, and variously engaged in feminine amusements, motherly devotion 
being also depicted on the upper section by the companionship of a child. 

The field above the panels, including the shoulder and neck, is filled in with floral 
sprays, and also encircled by a band in "herring-bone "-fret. 

The low bell-shaped cover, with blue knob, is decorated with divisions and similar 
alternate subjects. 

The foot bears leaf-marks in blue. 

Era of K'ang-hsi (1662-1722). 

Height, 1 8 '/ 4 inches. 
Diameter, 7 inches. 

1 The appellation "Lange-lysen" was first given, and under thjs term (or " long Elizas ") they are 
in Holland, to the objects from China with this now generally known in England and America, 
design, on account of the long, slender figures ; 



[18] 



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CHINESE PORCELAINS 



No. 17 

Pair of Tall Beakers, with the so-called " Lange-lysen " pattern; comet 
form, with a trumpet-like neck. 

The bodies of these beakers are uniformly decorated in brilliant shades of blue upon 
a white paste of translucent and pure texture, the decoration varying only in a few de- 
tails from that of the companion pieces: i.e., the slightly raised and blue-outlined lotus- 
petal panels are here arranged in four tiers or rows ; the largest and the smallest of these 
surround the neck, another row fills the central body, and the lower section is encircled 
in a like manner. 

The uppermost and larger tier of panels, as in the foregoing vase, presents a richly 
attired lady accompanied by a child, whom she alternately holds in her arms or has by 
her side on a veranda, showing a balustrade and other accessories. 

The second row of panels sustains alternately a young lady engaged in practising on 
a guitar or a flute and the jardinieres of flowers. 

On the third line of panels the figure is shown in graceful poses of a dance with cym- 
bal accompaniment, alternating also with the flowering plants ; while in the fourth and 
lowest row, a figure of a young lady is presented caressing birds and a rabbit ; the ac- 
cessories generally being balustrades and tables or stands. 

The field over the panels, in the form of spandrels, is slightly depressed and filled 
with floral sprays; two bands (one in lozenge pattern and the second chevron-fretted) 
encircle the globular center of body; and a small "herring-bone "-fret is also shown un- 
der the top rim, finishing a highly pleasing decoration in deep blue under glaze. 

Each specimen bears a leaf-mark with double ring in blue. 

Era of K'ang-hsi (1 662-1 722). 

Height, 1 7 '/ 8 inches. 
Diameter at top, 8 Vi6 inches. 



[19] 



A CATALOGUE OF 



No. 18 

Pair of Tall Jar-shaped Vases, with covers, of the so-called "Lange- 
lysen" type, and of similar form to the center piece. 

These vases are uniformly decorated in brilliant shades of blue upon a white ground 
of fine quality and even texture; the design, which is symmetrical and equally disposed 
over the surface, presents three tiers of lotus-petal panels, that are slightly raised and 
encircle the body, each sustaining its own design, edged with blue lines. 

The upper row of large panels displays a lady in gracefully flowing attire, daintily oc- 
cupied with flowers and dancing; 1 the figure appears on each panel against a background 
strewn with flowers, and the raison d'etre may be found in the middle row of panels, 
representing warriors, noble horsemen, and hunting scenery. 

The third and lowest row of panels show, alternately, a lady in graceful pose or slow 
dance with tiny fans, and the conventional flower-pots with their stands. 

The depressed field above the panels, surrounding the shoulder and the neck, is filled 
in with floral sprays and encircled by a " herring-bone"-fret band. 

The low bell-shaped covers have a blue-tipped knob, and are invested with an alter- 
nate figure and flower-pot decoration similar to the subjects on lower row of panels. 
The paste and the quality of the cobalt-blue exemplify the highest type of their class. 

Each foot bears the six character-marks (apocryphal) of Ch'eng-hua (1465-1487), 
dynasty of Ming. 

Era of K'ang-hsi (1662-1722). 

Height, 1 9 V 2 inches. 
Diameter, 8 V 2 inches. 

1 The arrangement of flowers centuries ago was considered an accomplishment for a lady of rank, 

and is an art of Chinese origin. 



[20] 








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Tall Jar-shaped Vases, f f cdSers, of the stalled "Lange- 
sen" type, and of similar form to the center piece. 

des of blue upon a white ground 
metrical and equally disposed 
rial panels, that are slighth and 

i, edged with blue lines. 

flowing attire, daintily oc- 

*anel against a background 

I panels. 



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The upper row nd s 

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dance with tiny fans, a 

The depressed field at 
in with floral sprays an ^> 

The low bell-shaped covers have a blue 
nate figure and flower-pot 
The paste and the quality 

Each foot bears the six i«k 

Ming, 
-vang-hsi (1662-1722). 

Heigh' inches. 

Diameter, 8Vj inches. ^ 

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[20] 








I 




CHINESE PORCELAINS 



No. 19 



Tall Blue and White Vase, cylindrical form with rounded shoulder and 
attenuated neck ; so-called club shape, of fine contour. 

Hard white-textured and semi-egg-shell porcelain, of rare purity, displaying under 
glaze painting of remarkable vitality and in rare deep cobalt. 

The spirited warrior subject, carried around vase, represents an episode 1 involving 
heroes of the wars between "the Three Kingdoms." Ch'ou Yiin was a famous re- 
tainer of Liu Pei (afterward King of Shuh). The latter was at one time (195 A. D.) 
defeated by Ts'ao-Ts'ao ; and Ch'ou Yiin, in rescuing an infant son of his chief, was 
closely pursued by one of the rival leaders, when suddenly a great chasm yawned be- 
fore him. Urging his horse (vide escaping horseman), he cleared the chasm and escaped. 
The leader of Ts'ao referred to is shown on a dappled horse, followed by a standard- 
bearer with several swordsmen at his side. 

The third horseman, approaching from behind rocks, is another famous hero, Kuan 
Yii, of the period, distinguished by his burly height and stem mien, seen holding aloft a 
long, ancient weapon, and rushing to the aid of his companion in arms, Ch'ou Yiin. 

The accessories of landscape include a high silicic peak, water and trees; the roof 
of a partly visible royal pavilion, suggesting the proximity of Liu Pei's domains. 

The white tubular neck is encircled by the usual ring-borders, key-fretted and curled- 
fungus design, with a line of small dots below. 

The fine white foot is without mark. 

The drawing is characterized by technical mastery and power of expressing action. 
Its provenance may easily be set at the close of the seventeenth century, when the 
cobalt-blue was at its best. 

Era of K'ang-hsi (1662-1722). 

Height, 1 8 V4 inches. 
Diameter, 8 inches. 

1 From the celebrated historical novel " San- after his secession from Liu Pei, and the Siian 

kua-chih," or "Records of the Three Kingdoms." family, which resulted in the partition of the em- 

This is the most popular work of its kind in pire among the house of Han of Szechuen and 

China, and details the triangular contest for the those of Wu and of Wei, founded respectively by 

throne waged by Liu Pei, assisted by Ch'ou Yiin, Liu-siian-te and Ts'ao Meng-te (A. D. 220- 

Chang Fei, and Kuan Yii, against Ts'ao-Ts'ao, 280). 

[21] 



A CATALOGUE OF 



No. 20 

Tall Blue and White Vase, club-shaped, companion to the preceding: 
fine-textured paste of rare pellucid quality, displaying the same bril- 
liant deep-blue painting, under an equally perfect glazing. 

The pictorial subject, carried around the vase, shows a garden terrace. The central 
figure is a lady of high rank, surrounded by attendants, receiving an elderly messenger, 
who is kneeling ; one of the attendants at her side holds a long tablet, and another be- 
hind bears a tall fan of state. The drooping standard is held by a young man, while 
two others, bearing banners, suggest the arrival (or departure) of some accredited per- 
son or official. 

The accessories include a long table with vases (one holds the two symbolical feathers 
and coral stick), a garden seat, and a large, spiral-bordered screen, which forms the 
background, helped by large palm trees and other plants. 

The picture, composed with decorative skill, is also admirably rendered in the vary- 
ing tints of the rare cobalt-blue, and exactly corresponds with its companion in this par- 
ticular. 

The neck sustains the fretted and other ring-bands, with dots, as in the foregoing. 

The foot is also unmarked, and shows the white, perfect porcelain that amateurs praise 
so much. 

Era of K'ang-hsi (1662-1722). 

Height, 1 8 '/ 4 inches. 
Diameter, 8 inches. 



[22] 



CHINESE PORCELAINS 



No. 21 

Tall Blue and White Vase, of graceful baluster form : massive hard 
textured porcelain, decorated in very deep cobalt-blue, under the glaze, 
in the so-called "tasseled" design. 

The motive shows a series of about eleven bands or borders, one above the other; 
the principal one on lower section simulates fringed tassels; a second border of similar 
design invests the neck, and below each of these are floral arabesque bands; while the 
base and shoulder sustain blue scalloped borders with outlines of separation in white 
palmation form. 

The neck also sustains two such broad borders, one of which connects at shoulder 
with two small bands (in chevron and scalloped patterns), and the second is near the 
rim, where it is finished by a small band of chevron fret; the inside is similarly treated, 
with a small band at the edge. 

The under foot is unglazed, and without a mark; its paste and color suggest early 
K'ang-hsi, while the form and motive are those of an earlier period. 



Height, 1 7 7 / 8 inches. 
Diameter, 7 5 /s inches. 



! 



i 



[23] 



A CATALOGUE OF CHINESE PORCELAINS 



No. 22 



Brilliant Blue "Hawthorn" Jar, 1 with original dome-shaped cover. 

The form is ovoid, and identical in contour with other famous specimens seen in but 
few collections, and so highly prized. 

The paste is of the purest hard texture, fine-grained, exquisitely white, and flawlessly 
clear throughout; its decoration is executed in the most precious cobalt-blue, character- 
ized by great depth and intensity, and imposed with special care for variations and mot- 
tling, as shown by the delicate shadings done before glazing. 

The design consists of four separate branches of the prunus or plum tree, known in 
China as " Mei-hwa," alternately spreading from base and neck, loaded with numerous 
finely rounded buds and blossoms; the petals and stems are in white reserve and drawn 
with great precision, and the remainder of the body is filled in by the undulating and 
cumulus blue color that is much enhanced in deepness by reticulation and crossings 
with darker lines to represent cracking ice (symbolizing the breaking up of winter); the 
rim at neck is finished by a narrow dentate or crenulated band generally noted on the 
best "hawthorn" jars of this class. 

A white band borders the base, bearing a hair-line in blue, and the foot shows the 
typical white-glazed paste without mark. 

The jar embodies a masterly technical perfection of type that is attributable only to 
the period of the Emperor K'ang-hsi (1662-1 722). 

Height, 1 X U inches. 
Diameter, 8'/ 8 inches. 

1 These famous jars, so-called " hawthorn " and in which the color will be found either tinged 

ginger " jars, are remarkable for their richness with violet or of a dull and grayer quality, 
and depth of color, seldom found on other blue The jar here under consideration very proba- 

and white objects; their clear, strong, and full bly belonged to the class used as tribute to Im- 

azure-blue, bordering on the color of a fine sap- perial favor, and served also as royal presentation 

phire, is easily recognizable from later products pieces, 
and copies of their form and style of decoration, 



[24] 



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ovoid, and identical in contour with other famous specimens seen m but 

and so highly prized. , , 

rf the purest hard texture, hne~gramed. exquisitely white and flawlessly 
it, decoration is executed « the most p« obalt-blue, ck 

epthandinten, 

n by the delica? 

J . am tree* known in 

•sum consists c os 

g, oaded with numer, 

China as Ivlei-nwa, gf 

S _ . sn white reserve 

th great precision, a £ r g Z 

ulus f. J <: K 

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im at neck is finished by a na § 

best "hawthorn" jars of V . , . , , k 

A white band borders the 1 blue, and tbe foot shows the 

rvnical white-glazed pa ., . , , 

UeTar embodies a masterly al perfection of type that is attnbutable only to 

•riod of the Emperor K'ang-hsi (1 662-1 722). 

ght, 10 ' '4 inches. 
Diamete ;nches. 

remarkable for 
«nd de found on other blue ,,\ h V" /£ fo lm- 

andwh S r Ta'nte^ P > as royal presentation 

azure-blue, bordering on ihe color ot a nne -"»» "» Y "'' <" 

-, is eas .lizable from later products piece*. 

and style of decoration, 



[24] 



POWDER BLUE 

ONE of the most intelligent records dealing with the methods and accom- 
plishments of Chinese ceramists is embodied in the letters of P" re d'Entre- 
colles, a French missionary who went to China in 1 700. These letters cover 
a period of twenty-two years (during the reign of the Emperor K'ang-hsi), 
contain much information concerning the technique of objects in porce- 
lain, and have been of great utility to all subsequent writers on the subject. 

The following information, dealing in part with a class that we have 
here before us, is extracted from d'Entrecolles's letter of September, 1712. 
Referring to powder blue, he wrote that "the blue used for souffle sur- 
faces is very carefully prepared from the time it is mined, and only the 
smaller particles of the mineral (cobalt) are selected for the first grade. 

"Pieces steeped in this color were not considered as valuable as those 
with the color deposited by blowing, a process requiring the utmost care; 
and such objects were valued according to the brilliancy of the glazed 
result. 

"In this process the color is blown, according to the worthy Pere, from 
the extremity of a bamboo tube, on which a piece of gauze is attached 
to one end, on which the prepared color is put, by dipping, or applied 
with a brush; then the tube is directed towards surface on an object to 
be decorated, and blown from the other end; the fine powdered bits gradu- 
ally cover the required surface uniformly, according to the skill of the deco- 
rator. 

"If reserved spaces are left, these are painted separately or, after the 
glazing, in one variety; the white reserve medallions are also decorated 
in cobalt-blue, but before the glaze, and heightened uniformly by the firing 
together with the blue souffle. 

[25] 



A CATALOGUE OF 

"In the production of the second sort the Chinese varied the monotone 
color of the souffle treatment by painting in polychrome colors on the 
white medallions after the first firing. 

"The white reserve spaces partake of many forms; the shapes of a leaf, 
flower, or fruit are favorite outlines, and are made by cutting them out in 
paper and fixing them when wet on the object before applying the blue" 
(so-called powder-blue souffle, termed by the French "bleu de poudre" 
and also "bleu fouette"). 



[26] 







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.. hA the second sort th< vaned the monotone 
color of the souffle I ^"8 m polychrome ^^ on the 

white medallions after f , , , 

"The white reserv akeoi | nns; t! esofalea^ 

r. or frmt are favonte M ? "T theWue" 

,d fixing them when we. || S PP ymg the blue _ 

ipLLblue f Soum. & J eu de poudre 

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CHINESE PORCELAINS 



No. 23 

Powder-blue Tea-pot, fine hard-paste porcelain, in the form of a jar, with 
handle and short spout, uniformly covered in deep and brilliant blue 
souffle glaze, displaying a reserved medallion on two sides, decorated 
with flowers growing amid rocks and other herbage, in bright colors, 
of the "famille verte" style, on a pellucid white ground. 



The upper edge and the base are uniformly surrounded by a string of raised beads, 
and the rim is encircled by a gilt-fret band. 

The flat cover is tipped by a small knob, and also bears a gilt arabesque tracery. 

White foot, without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 4 inches. 






[27] 



A CATALOGUE OF 



No. 24 

Pair of Cylindrical Vases, "royal blue," cabinet size and so-called club 
shape, of pure white hard-textured porcelain. 

The vases are invested with a brilliant blue souffle glaze, including finely penciled 
tracery in gilding on the shoulder and also between the reserved white upright panels. 
The panels are separately decorated with the figure of a lady, in graceful attitude, carry- 
ing a fan, during her promenade in a terraced garden surrounded by balustrade and trees, 
the reverse showing flowers and plants all beautifully executed in the "seven" colors of 
the "famille verte" palette. 

White foot, without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 9 '/ 2 inches. 
Diameter, 4 inches. 



[28] 






CHINESE PORCELAINS 



No. 25 

Powder-blue Vase, tall cylindrical form, with sloping shoulders, and at- 
tenuated and slightly flaring neck (so-called club shape), of fine white 
hard-textured paste, with a brilliant blue souffle glaze, varied by a series 
of panels reserved in white, and separately painted in polychrome colors 
(over the glaze), in the "famille verte" variety. 

The four largest panels surrounding the body of the vase are upright, and each dis- 
plays a flowering plant symbolizing its season of the year; four small square-shaped 
panels with inverted comers on the shoulder also hold floral subjects on a white ground. 
The neck shows three panels in oblong shape, with flowers and insects. 

The specimen throughout is of high quality and shows its period, rCang-hsi (1662- 
1722). 

White glazed foot, without mark. 

Height, 1 7 inches. 
Diameter, 7 ] / 2 inches. 



[29] 



A CATALOGUE OF 



No. 26 

Powder-blue Bottle, cabinet size, pear shape with slender cylindrical 
neck, fine hard-paste porcelain, covered in sapphire-blue souffle* under 
a brilliant glaze, showing three white reserved panels in quatrefoil form, 
separately decorated in "famille verte" colors. 

The symbolic objects on one panel display a vase with two peacock feathers and a 
piece of coral, and near it a tripod scroll-holder; the other accessories are Taoist attri- 
butes. The remaining two panels are similarly decorated and rendered with much 
regard for detail, and are painted in "seven" colors. 

White foot, without mark. 

K'ang-hsi period (1662-1722). 

Height, 1 1 '/ 2 inches. 
Diameter, 5 3 /4 inches. 



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fine hard-pe lain, covered in sappi ** 

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%enaratelv decora 7? 1 z 

, vmbolic objects on one panel 4 f K*e with two peacock fearers and_ . 

Lies. The remaining two panels are similarly decorated and rendered with much 
rd for detail, and are painted in "seven" colors. 
White foot, without mark. 
K'ang-hsi period (1662-1722). 

Height, 1 M* 

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CHINESE PORCELAINS 



No. 27 

Powder-blue Bottle, cabinet size, pyriform, of graceful contour, with small 
bulb on neck, fine hard-textured porcelain, covered in brilliant-blue 
souffle, and displaying four foliated panels in white reserve. 

The two larger panels are quatrefoil, and the two smaller are leaf-shaped, each 
separately embellished in "famille verte" floral designs (including birds), carefully de- 
picted, in bright transparent colors. 

Foot white, without mark. 

Produced in the era K'ang-hsi (1662-1 722). 

Height, 10 inches. 
Diameter, 4 '/ 4 inches. 






[31] 



'i 



A CATALOGUE OF 



No. 28 

Powder-blue Jar, of ovoid form and graceful contour, with dome cover, 
fine white hard-textured porcelain, brilliantly glazed over a rare quality 
of "royal-blue" souffle (commonly called "powder blue," and also 
"bleu fouette"), with nine white-reserved panels of varying forms, 
separately decorated with "famille verte" floral subjects, over the glaze, 
in bright colors, among which green predominates. 

The three larger medallions surround the main body, are circular, and display dif- 
ferent floral subjects, notably one with a finely drawn branch of peonies and a long- 
plumaged Feng-huang, the second with lotus flowers, and the third with chrysanthemums 
and peacock; three square-shaped panels with floral stems are below, and the shoulder 
sustains the other three, which are fan-shaped and include similar flower-painting on 
the pellucid white body-glaze. 

The sapphire-blue souffle* surface also carries an "over-glaze" embellishment in gild- 
ing, a floral and herbage tracery between the large medallions, and at base a linear 
motive, with lily blossoms; the neck is encircled by a fungiform scallop tracery in gold. 

The dome-top cover also carries a round panel with "famille verte" decoration on 
the white reserve. 

Underneath foot is in white, bearing a blue ring-mark under the glaze. 

Era of K'ang-hsi (1662-1722). 

Height, 1 2 V4 inches. 
Diameter, 10 inches. 



[32] 



CHINESE PORCELAINS 



No. 29 

Grand Plaque, of massive fine-textured porcelain, with a deep "powder- 
blue" border, and also elaborate gilt tracery that includes a lotus palma- 
tion, together with emblematic and gift objects, alternating with chry- 
santhemum blossoms. 

This border connects with the multifoiled edging, in brilliant-red arabesque motive, 
and frames a pictorial subject on central panel, which is painted in transparent colors 
of the "famille verte" palette, showing a procession of young people in the foreground, 
bearing symbols of various kinds, viewed by a group of ladies, occupying a summer- 
house on a high stone terrace, who are doubtless accompanying the singing of the chil- 
dren with the music of two instruments. Other children approach from an opposite 
direction, rolling a large ball with emblematic or allegorical device of " riches." The back- 
ground containing a leafless tree, the scene therefore suggests an autumn celebration. 

This plate bears a blue hall-mark, indicating a treasured object. 

Era of K'ang-hsi (1 662-1 722). 

Diameter, 20 '/ 2 inches. 



[33] 



WHITE PORCELAIN 

WHITE porcelain, not intended for decoration in color, is produced in glazed 
and unglazed (biscuit) form. The latter is comparatively rare in Chinese 
porcelain, and, as a general thing, is found used only on small pbjects or 
statuettes, in molded form, or with perforated embellishments. 

Glazed white porcelain is also of two distinct types — i.e., hard and soft 
paste; of these the first variety is largest and varies considerably in quality. 
Those, however, which may be attributed to the best periods represent 
the acme of technical skill and perfection in pure porcelain, and the paste 
in such pieces will be generally found of a pure white pellucid texture and 
brilliancy, according to its provenance. 

The soft-paste porcelain of China is distinguishable more especially by 
a very fine crackle in the glazed surface, and a creamy white tint, that in 
some specimens resembles new ivory; or, generally speaking, a softer white 
is revealed than in the hard-paste porcelain, and in good specimens the 
glaze will be found closely blended with the paste, imparting a beautiful 
"satiny" texture; and it will be noticed that objects in soft paste are sur- 
prisingly light in weight. 

The embellishment on objects intended to remain white includes raised 
or pressed ornamentation as well as reticulated designs; the "rice-grain" 
pattern (a most popular mode) consists in a fret or star diaper motive, 
pierced in the body of the porcelain, and then filled in with glaze, leaving 
the pattern semi-transparent. The work of piercing the paste requires con- 
siderable skill, especially when the design is complicated, such as leaves 
and flowers, a dragon, or a phoenix. 

The white porcelain from the Imperial factories at King-te-chen (or 
Ching-te-chen) is of a most beautiful quality, both in substance and shape; 

[35] 



A CATALOGUE OF 

and it is interesting to learn from Chinese sources that white porcelain is 
used at Peking, in the Imperial household, during times of mourning. 

The fine white porcelain made under the Sungs, and known as "Ting- 
yao," is probably the oldest of this type extant, and also the most cele- 
brated. Reproduced in nearly every succeeding period, such objects have 
remained unrivaled in their translucent and lustrous quality. These prod- 
ucts of the early Sungs are described in contemporary annals as resembling 
the "mutton-fat" tinge of polished jade, while the later types are some- 
what more dull in color, with minutely crackled creamy-white glaze, a 
heavier paste being used than on the original product. 

Another white porcelain, known as "Fuchien," was produced during 
the Sung dynasty. The best specimens of this type show a pale rice- 
toned glaze, while the paste is of a heavy texture with engraved designs 
characteristic of this era. 

The most noted white porcelain produced during the Yuan dynasty is 
known as "Shu-fii," but native authors state that it was first merely a 
copy of the famous "Ting-yao" made under the northern Sungs. Identi- 
fied specimens show similar lightly engraved surfaces under the cream or 
ivory white glaze, notable for its pleasing soft texture. 

The "Fen-ting," or white Ting porcelain, is a particular kind of soft- 
paste porcelain, named also after "Ting-yao" of the Sungs, and made 
under the succeeding dynasties down to more recent periods. "Fen-ting- 
yao" decorated with blue is highly prized by all collectors, and more gen- 
erally known as blue and white "soft-paste" porcelain. It usually has a 
fine crackled surface. 

The Yung-lo period is celebrated for its white porcelain, as are some 
of the later periods of the Ming dynasty, especially Hsuan-te; but the 
greater number of extant specimens in white date from the present dynasty. 
The finest and technically most perfect of this class were produced during 
the K'ang-hsi, Yung-cheng, and Ch'ien-lung periods. 



[36] 






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. ■ • • . .• i. l„™ f». <e sources that white porcelain is 

and it is interesting to leam . • " „„„_:_,, 

used at Peking, in the Imperial household, dunng times of mourning. 

Ue fine white porcelain made under the Sungs, and known as Ting- 

' is probably the oldest of this type egant, and also the most cele- 

Reproduced in nearly every succ I ■ *V<* " a J 

ivaled in their translucent a? h. f ■ quaky These prod- 

l I -ary annals as resemc 
' tinge of polished jad ° pie the later types are some, 
lor, with minutely crackled creamy-white glaze, a 

oa used than on the o product. 

' •, was produced dunng 

r . The best specimens of this type show a pale nce- 
toned glaze, while the paste is of a heavy tptture with engraved designs 

lie most noted white porceUin prooj 3 ?*g the Yuan dynasty is 
known as ' tt." but native m**$ f *-« •' -as first merely a 

Spy of the famous "Ting-yao" made ufidef the northern Sungs. Idenh- 
S specimens show similar lightly engravee! surfaces under the cream or 
ivory white glaze, notable for its pleasing soft texture. 

The "Fen-ting," or white Ting porcelain, ,s a particular kind of soft- 
paste porcelain, named also after "Ting-yao" of the Sungs, and made 
under the succeeding dynasties down to morc recent periods. Fen-tag 
"' .ted with blue is highly priz P collectors and more gen- 

erally known as blue and white "soft- f » ? z lain, ft usually has a 

fine crackled gr 8 £ m mt „» 

The Yung-lo period is celebrated f. - ? vh,te porcelain, as are ^some 
of the later periods of the Ming dynasty , Especially Hsuan-te but the 
greater number of extant specimens in white date from the P^J^ 
1 and technically most perfect of this class were produced dunng 

tl mg-hsi,Yung<h&.g, and Ch'ien-lung periods. 













^ 



'• 







CHINESE PORCELAINS 






No. 30 

A Multifoil Vase ( " blanc de Chine " ), of rare technique, having a 
melon-grooved globular body with overhanging lobes that are scal- 
loped in fungiform, or lancet-shaped. 

The fine white paste blended with the glaze shows a satiny texture as well as a 
beautiful design, which is uniformly sustained in low relief, and delicately molded in 
the paste ; the arabesque motive, involving the tiger-lily and foliage, is continued on 
the round surfaces between the grooves and running into the neck, and the lip of each 
fungiform lobe sustains an archaic emblematic bat in low relief. 

A raised band of palmation finishes the base. 

The underneath panel of foot includes an imposed seal-mark of the era Yung-cheng 
(1723-1735). 

Height, 8 1 / 8 inches. 
Diameter, 6 inches. 



[37] 



A CATALOGUE OF CHINESE PORCELAINS 



Nos. 3 1 and 32 



Two White Cups ("a jour"), of fine hard paste with blue borders. 

The fine pierced diaper-work is in combination with five circular-formed medallions 
that sustain two figures each in high relief, undercut, and with gilt robes, the heads re- 
maining white biscuit ; representing ten Chinese mythological persons — probably the 
eight (Pa-sien) legendary beings of the Taoist sect, together with Lao Tsze and Si 
Wang, the Genii Queen. 

The base is decorated with a band in blue foliation under the glaze, and a second 
blue band in blue diapered design encircles the top near the rim. 

The foot is white biscuit and of typical texture, produced under the Emperor K'ang- 
hsi (1662-1722). 

The two cups vary only in the blue border near rim : ue,, one shows a diapered 
band at the top, and the second carries instead a dentate band ; otherwise they are alike. 

Height, 2 inches. 
Diameter, 3 72 inches. 



[38] 



SINGLE-COLOR SPECIMENS 

AMONG the transcendent creations of Chinese ceremists, aside from 
their decorated porcelains, monochrome types have figured with consid- 
erable distinction from remote periods to the present day. In a general 
way, it may be gathered from early records that single-colored objects 
antedate decorated porcelains by many centuries. The several periods 
certainly have produced a remarkable variety of monochrome pieces, 
and of these the red-colored glazes (derived from the oxide of copper and 
gold), — *'.<?., "sang de bceuf," — the "peach-skin" or "peau-de-peche" 
"ruby," and " rose "-carmine ("yen-chi,") or "rouge d'or" are most es- 
teemed ; the other reds which are of the same oxide include the "sang- 
de-pigeon," "crushed-strawberry," and "liver" tints; the reds from the 
oxide of iron include the coral and varying shades of vermilion. 

COLOR OF THE PEACH 

The so-called " peach-bloom " glaze is the rarest of the red varieties. 
True specimens of this class are small and of uniformly high character, 
in the best quality of paste, perfect glazing, and of singularly attractive 
forms. As the number of these beautiful examples are most limited, it 
is possible that they were made for the palace by some particular potter 
who alone had the secret or skill of producing this glaze. All the au- 
thentic pieces bear the characteristic six character marks (in fine blue un- 
der the glaze) of the K'ang-hsi period in unique perfection. All later 
reproductions are therefore readily distinguishable, and in all particulars, 
— glaze, paste, or form, — as also by the marks. 

Some writers have concluded that the so-called "peach-bloom" was 
an "over-fire" accident when the glazes of the "sang-de-bceuf" varie- 

[39] 






A CATALOGUE OF 

ties had been used; but it may be proved that these writers could have 
seen but few real specimens of the former color. The shapes in the 
" sang-de-bceuf " variety are totally distinct, just as the forms are dis- 
tinct in the "peach-bloom" glazes; therefore an accidental result in 
glazing is out of the question with regard to the peach color. Vide Nos. 
36, 37, and 38. 

COLOR OF OX BLOOD 

The particular red-colored glaze known as "sang de boeuf " was doubtless 
first produced under the Mings, and at a period when the paste was not 
purely kaolinic. The reason for this hypothesis is the fact that brilliant- 
red glazes are often referred to which were not always from iron ; and 
that even in later periods, when the paste became whiter and purer by 
kaolin, the potters would nevertheless endeavor to simulate the more an- 
cient product by using a more gritty body substance, and very old types 
exist of this character to-day. The variety of these fine red glazes is 
very great, but the best are about exhausted in China, as the native 
owners have long since been induced to part with their treasures of this 
kind by remarkable temptations from European and American agents. 

LANG-YAO 

The "sang-de-bceuf" pieces now known more generally as "Lang- 
yao" (the Chinese term) may be said to be also out of the market. 
This latter type is doubtless the most beautiful as well as technically of 
the highest perfection, named after the famous potter Lang-ting-so, 
who was a director of the Imperial factory at King-te-chen under the 
Emperor K'ang-hsi. A few of the distinct characteristics may be con- 
veyed in words and supported with an example in this collection. Vide 
No. 35. 

The true " sang de bceuf " is without a tinge of purple (all such are 
modem and a trade product) ; the color may shade to a brownish-red or 
have a tinge like that of old sherry, and when the red partakes of yel- 

[40] 



CHINESE PORCELAINS 

low it is unquestionably of the true class. Fine pieces are curiously 
modeled and always very transparent, with a glaze inclined to be 
crackled. 

A certain characteristic of the true "Lang-yao" is the correct line 
finished at the base, showing the white foundation color, glazed and 
without any signs of grinding off ; the same remark applies to the upper 
rim, which is usually distinguished by a clean glaze, in either an ivory 
tint or a crackled celadon that is clearly defined at the edge. 

To produce this color the glaze has to be melted to a perfect fluidity. 1 
Potters usually cannot prevent it from running down so that the neck is 
often thin and streaked, and the overrunning glaze at the foot is often 
in the form of drops, or even large masses, that must be broken off 
in removing the object from the kiln; then it is necessary to grind 
the foot down evenly, which is never the case in the fine objects under 
consideration here. 

It should also be stated that the true pieces of " Lang-yao," or " sang 
de bceuf," are usually glazed on the interior as well as underneath the foot 
in a greenish tint, like a light celadon, or a crackled rice-colored glaze on 
the interior or underneath may be also noted. The most remarkable pieces 
will be found to have possibly a dash of red along with this glazing. 



APPLE-GREEN 

Among the green variety, in solid colors, the so-called "apple-green," a 
translucent glaze with a brown crackle, is of the rarest. The body or 
paste is usually of the same texture as the " Lu-lang-yao," and therefore 
it has been assumed by authorities that this color was produced at the same 
time, and also under the direction of Lang-ting-so ; especially as this color 
is enumerated among glazes in the records of King-te-chen. Vide No. 
34. 

x It has often been stated that these reds are formed different conclusions after their trials, 
produced from copper alone ; but potters who and it has been suggested that the oxide of gold 
have experimented with this color have usually is necessary to produce such a color. 

[41] 



A CATALOGUE OF 

Other greens, of iridescent quality, were also invented under Ts'ang 
Ying-hsiian, and called " snake-skin " color and " cucumber-green." Other 
varieties of green-tinted glazes have been produced at other periods, but 
none so distinguished as the "apple-green," with its strongly marked 
crackle. 

CELADON 

The celadon color, on the other hand, is the oldest of all the green glazes 
extant, and is referred to in the earliest periods of ceramic art, especially 
predominating in the T'ang dynasty and, later, during the Sungs. Made 
in different factories, it also varies in tints and qualities. 

The oldest, perhaps, existing to-day is the product known as "Chiin- 
chou-yao" and "Ko-yao" of the Sung dynasty. " Jii-yao," or " Kuan- 
yao," is the oldest celadon known in history, but it is doubtful if any speci- 
mensexist now. " Lung-ch'uan-yao," another celadon, was shipped largely 
to India and Persia, where it is known as "Martabani." 

Celadon was first known in Europe during the seventeenth century, and 
there it received its name. Vide Glossary. 

CRACKLE WARE 

The "cafe-au-lait" crackle porcelain is among the oldest of the so-called 
single-colored pieces. Crackled vases were called " Tsui-khi-yao " under 
the southern Sungs' dynasty, and are described in the history of King-te- 
chen, where we learn that the clay employed was coarse and compact, 
and that "the vases were thick and heavy." Some types are termed by 
the Chinese "Mi-se" (the color of yellow millet seed). 

It was recorded by Pere d'Entrecolles that at these factories (King-te- 
chen) they used " Hoa-chi" (steatite) powder, and mixed it with the glaze, 
from which the vases would exhibit cracks running in every direction, as 
though broken into thousands of pieces. They were occasionally rubbed 
over with colored inks, red or black; then was seen a network of charm- 
ing veins (in either color), imitating the cracks of ice. D'Entrecolles also 
states that a kind of glaze called "Tsoui-yeou" was used during his time 

[42] 






CHINESE PORCELAINS 

(1700-1722) to produce innumerable little cracks over the surface when 
applied alone, but that it also rendered the object very brittle, and destroyed 
its ringing tone when struck. 

IMPERIAL YELLOW AND OTHER TINTS 

The so-called "Imperial yellow" is among the most popularly known of 
the yellow variety of glazes. Its color resembles very much the yolk 
of an egg and is without crackle. The "mustard-yellow" is a heavy, 
even enamel color, with a fine network of crackle ; in the finer examples 
an iridescence is noticed together with porcelain of light substance and a 
brown metallic-colored edge, while in all later examples the paste and glaze 
are heavy and coarse, when the iridescence does not count. 

Several kinds of light yellow-glazed porcelains, with transparency, were 
produced in the K'ang-hsi and the later periods, having a fine even quality 
without any crackle, and usually found upon a fine white paste, the finer 
examples being almost as thin as egg-shell. Among these may be noted 
the canary and citron or lemon-yellow, a straw-color, and a sort of sul- 
phur-tinted glaze. 

The purest yellows come from antimony, and the orange-tint shows 
also the presence of iron. 

BLACK COLORS 

The black-enameled pieces, usually termed "mirror-black" on account 
of their very brilliant and even surface, are noteworthy ; especially those 
produced during the K'ang-hsi period, with an iridescence, sometimes re- 
sembling the soft black sheen of the raven's plumage and therefore termed 
" raven's- wing" black. This iridescence is found only in small specimens, 
and when of perfectly uniform quality is most treasured. 

Other blacks have been produced, of metallic and more or less oily sur- 
face, that date back to more remote periods, and generally have a dense 

[43] 



A CATALOGUE OF 

body substance with less kaolin than the black-enameled porcelains of 
later periods. 

TURQUOISE COLOR 

The turquoise-blue glaze is another characteristic color produced by the 
Chinese in very early periods, with a great range in its different shades 
and quality. The darkest tones with uniform color are the most esteemed, 
and particularly those with the shad or "fish-roe" crackle, although there 
are some light and very beautiful shades on the smaller objects, especially 
those attributed to the period of K'ang-hsi. 



OTHER COLORS 

Among the other so-called " solid-color pieces" may be noted, aside from 
the various white tints, "robin's-egg blue," "pearl," "lavender," "duck- 
egg blue," "moonlight" or "clair de lune," "sapphire-blue," 'bleu 
fouette" or " powder-blue" souffle, " Mazarin blue," "lapis-blue glaze," 
"salamander-red" souffle (which is like the coral-red from oxide of iron), 
"pistachio green," "camellia-leaf green," "cucumber-green," "haricot 
vert," "olive-green," "iron-rust" or "t'ieh-siu"(with small black metallic 
specks, or with a metallic luster), "tea-leaf," "tea-dust" or "ch'a-mo" 
(flecked with light spots, or souffle), "olive," "magenta," "violet," 
"plum-color" or "aubergine-purple" (from manganese), and "camelian- 
red." 

FLAMBE AND VARIEGATED COLORS 

The so-called "flambe " variety, by itself commonly termed " splashed " or 
"transmutation" and called in China " Yao-pien," is said to have been 
first an accidental product, although in later periods produced at will. Of 
this latter type there exist some beautiful examples which may be attrib- 
uted to earlier periods. They have been fully described in several works 
on the subject, notably by Dr. Bushell, Monkhouse, Jacquemart and others. 

[44] 



ll 



CHINESE PORCELAINS 

Of the variegated glazes we may also note a kind of marbleized effect of 
several colors and a kind of souffle, known as "harlequin" porcelain, and 
composed of several colors disposed over the surfaces in clouded effects. 
Other glazes of Tsing porcelain imitate iron, bronze, wood, ivory, 
agate, etc. 



[45] 



A CATALOGUE OF 



No. 33 

Green Bottle, with cylindrical neck and compressed pear-shaped body, of 
fine porcelain covered with a translucent and brilliant-green glaze, re- 
sembling dark-colored emerald, or Imperial green jade ("Fai-tsou-i"). 

This color is carried solidly from the foot to the interior of neck, and the body sus- 
tains a superposed black decoration, displaying a bit of landscape, in which a pine tree, 
and also a boat with a man, are principally noticeable, painted on the green body-color 
before glazing. 

The underneath foot is glazed without mark. 

Probably produced during the first part of the eighteenth century (Ch'ang dynasty). 

Height, 8 inches. 
Diameter, 5 inches. 



[46] 






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G- Bottle with MM "tirjSE^K'i 

SeSezS i*3| 1 1 ? iad "' FaiW '- 

This color is earned solidly from the foot JlJ I I 8 neek and the body sus- 

before glazing. 

The underneath foot is glazed without mark. ,W s kA 

Probably produced during the fat part of the eighteenth century (Ch ang dynasty). 

Height, 8 inches. 
Diameter, 5 inches. 



pi 



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[46] 



CHINESE PORCELAINS 









No. 34 

Small Green Vase ("Lu-lang-yao"), ovoid shape, with low, slightly curved 
neck, of dense grayish-white porcelain, invested with a brilliant light 
"apple-green" glaze, translucent and like "Imperial" green jade, show- 
ing a network of brown crackle uniformly dispersed over the body. 

The rim and interior, as underneath the foot, are light celadon glaze with crackle. 
Objects with this particularly rare color are attributed by authorities as the product of 
Lang-ting-so, period of tCang-hsi (1662—1722). 



Height, 4 3 / 8 inches. 
Diameter, 3 '/ 4 inche 



ties. 
From the Startseff Collection, Tientsin. 



[47] 



A CATALOGUE OF 



No. 35 



Sang-de-bceuf Bottle ("Lang-yao"), with globular body and cylindrical 
neck: white paste of characteristic texture, covered with fine light- 
red monochrome glaze, which is sustained with exceptional brilliancy 
throughout. 

The light pellucid sang-de-bceuf glaze is shown with ruby-like clearness, and with 
slight changes or mottling in its translucent color; beginning from the upper neck, where 
the edge is defined by a narrow rim of the soft white body-color, it ends at the foot, 
marked by a few delicate flecks or vertical streakings along the neck and some variation 
into lighter shades that distinguishes it and its class. A feature, also, is the well-defined 
white margin at the base, where great technical perfection is shown in the ending of the 
liquescent red glaze with much precision. 

The foot of this example has a clean biscuit edge underneath a cream, or "rice-tinted," 
crackle glaze, the interior of neck showing a similar crackle glaze and also bearing a 
splashing of the exterior ruby tint. 

Made during the prefecture of Lang-ting-so, under the Emperor K'ang-hsi (1662- 
1722). 

Height, 13 inches. 
Diameter, 8 '/ 2 inches. 

From the Startseff Collection, Tientsin. 



[48] 







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A CATALOGUE 



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ie-boeuf Bottle (" Lang-yao"), with globular body and cyhndncal 
neck: whit, e of charac- texture, covered with fine light- 

red mow ^ich is sustained with exceptional bnlhancy 

throughout. 



The 



is dv 



sang uf glaze is shown with ruby-like and with 

translucent color, b|ginn 

f ! If ? 



•a 
ft. £ 1' « 



Si- ^ 



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liquescent red glaze with much precision. „ 

The foot of this example has a clean biscuit edge underneath a cream or nce-tinted, 
crackle glaze, the « of neck showing a similar crackle glaze and also bearing a 

splashing of the < ub> tint. . 

,de during ecture of Lang-ting-so, under the Emperor K ang-hsi (1 6W- 

17 



r Collection, Tientsin. 



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CHINESE PORCELAINS 



No. 36 

Shallow Coupe, of fine white ("Ts'ing-yao") porcelain, with the exterior 
surface invested in a brilliant peach-colored glaze ("peau-de-peche"), 
showing interesting mottling in deeper and lighter tones of the most 
esteemed peach-bloom variety, including markings and flecking of a moss- 
like green, characteristic of the best examples of its class. 

The interior is glazed in white, and the foot is finished by a fine rim, and bears 
underneath in blue the six character-marks of K'ang-hsi (1662—1 722). 

Height, 1 3 /e inches. 
Diameter, 4 7 2 inches. 

From the Startseff Collection, Tientsin. 



[49] 



f 



A CATALOGUE OF 



No. 37 



Semi-spherical Coupe, of fine white ("Ts'ing-yao") porcelain. 

This specimen is glazed in a brilliant "peach-bloom" color (" peau-de-peche"), with 
beautiful variations, in its mottling resembling the skin of a ripening peach, and display- 
ing deep tones melting into the shade of ashes-of-roses or pale and softer tints, with moss- 
green flecks also visible, especially at the small neck: a characteristic coloring found only 
in the most unique specimens. 

The foot is finished with fine edge, and underneath the white glaze bears in blue the 
six character-marks, Ta-tsing, K'ang-hsi, Nien-chi period (1662—1722). 

Height, 3 7 2 inches. 
Diameter, at base, 5 inches. 

From the Startseff Collection, Tientsin. 



[50] 



I 



CHINESE PORCELAINS 



No. 38 

Small Amphora or Vase, elegant in form, of the finest white ("Ts'ing-yao") 
porcelain. 

This vase is invested with a brilliant and deep peach-colored glaze ("couleur-de- 
peche "), solidly and evenly covering the body and the interior of neck, its delicate mottling 
imitating the ripened shadings on the skin of a peach ; the form and texture combined make 
one of the most prized objects among the rare and beautiful peach-bloom class. 

The underneath foot has a fine edge and bears in blue, under glaze, the six char- 
acters, Ta-ming, K'ang-hsi, Nien-chi (1662-1722). 

Height, 6 inches. 
Diameter, 2 '/ 8 inches. 

From the Startseff Collection, Tientsin. 



I 51 l 



A CATALOGUE OF 



No. 39 

Semi-egg-shell Plate, octagonal in form, of hard-paste ("Ts'ing") porce- 
lain; the decoration shows two borders: the inner, with a purplish 
enameled ground, involving the lotus, is overlapped by the outer bor- 
dering with its foliations, including blossoms and a fret design. 

These borders encircle the center panel, depicting a landscape with two women; 
one is in a boat, accompanied by a child, and the other is in the foreground upon the 
shore, carrying a child on her back, and a tree bearing red blossoms completes the 
scene. 

The under side is glazed in white. 

Late K'ang-hsi or Yung-cheng (1723-1735). 

Diameter, 7 'A inches. 



[52] 



A CATA 















1 Plate, octagonal in form, of hard-paste ("Ts'ing") porce- 

No. 39 
eled ground, in e lotus, is overlapped by the outer bor- 

Semi-egg-shell Plate 

ring with its rohation soms and a rret design. 

(Yung-cheng) 

These borders encircle t' .->anel, depicting a landscape with two women; 

s in a boat, accompanied by and the other is in the foreground upon the 

shore, carrying a child on her back, and a tree bearing red blossoms completes the 
scene. 

The under side is glazed in white. 

Late K'ang-hsi or Yung-cheng (1723-1735). 

inches. 









CHINESE PORCELAINS 



No. 40 

Reticulated Hanging Vase, of hard white-paste porcelain, resembling 
entwining cords or open passementerie work. 

The lower and upper loops are glazed in yellow and green; the central network, in 
lavender and mahogany-red. 

The upper rim is bordered by "scepter heads" in red and gold on a white ground, 
which is carried to the flange of neck, and connects at the shoulder with a narrow bro- 
caded band in green, a similar band finishing the base. 

The interior is bordered at the top with red flowers and stems on a green ground. 

The chain is in red with light gold tracery, and the cross-bar is embellished with a 
floral design on green glazed ground. 

Under foot is glazed in green and bears reticulated circular ornament in red. 

Era of K'ang-hsi (1662-1722). 

Height, 6 '/ 4 inches without chain. 
Diameter, 4 V 4 inches. 



[53] 



A CATALOGUE OF 



No. 41 

Reticulated Hanging Flower-Vase, hard white ("Ts'ing") porcelain, 
made to resemble netted cords and open passementerie work. 

The vase is glazed amber-yellow and striped in black; the several bordered surfaces 
form a framing and sustain an interior cylindrical vessel, which at the top is richly deco- 
rated with a brocaded band involving blossoms on a green stippled ground. 

The exterior rim displays a floral brocaded design with green ground ; and, below, a 
red "herring-bone "-fret encircles the shoulder; another small border in red fungiform 
tracery finishes the base. 

The porcelain chains and cross-bar are decorated to imitate gold-inlaid bronze. 

The foot is glazed in greenish-white and contains a pierced diamond in a circle. 

Attributed to K'ang-hsi (1662-1722). 

Height, 6V2 inches to top of ring-holders. 
Diameter, 4 inches. 



[54] 



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No. 41 

Retkulated Hanging Flower-Vase, hard white ("TYing") porcelain, 
™de to res, «tted couls and open passementene work. 

J ; n kUrlt • the several bordered surfaces 

?» ZJ, below, a 
£1 Id fungiform 
red "herrbgW'-fret encircles the shoulder; another sma. | £ g 

tracery finishes the base. j^-ted to imitate gotd-inlaid bronze. 

The porcelam chains and cross-bar are decorated to m ta g^ ^ 

The foot is glazed in greenish-white and contains a piercea ai 
Attributed to K'ang-hsi (1662-1722). 

-ight, 6' 2 inches to top of ring-holders. 
D 4 inches. 



7s 

3 


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3 
CW 

5" 


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[54] 












CHINESE PORCELAINS 



No. 42 



Tall Jar ("rouge d'or"), oviform, and of brilliant-white porcelain. 

The jar is painted in rich colors of the "famille rose" variety, with the ground enameled 
in a rare and beautiful shade of carmine souffle", of velvety texture; studded with chrys- 
anthemum blossoms in various half-tone and opaque enamels, also interrupted by large 
white reserved panels and medallions of varied shape (including double circles, fan, and 
scroll outlines), which are dispersed over the body and separately decorated with floral 
subjects — i.e., peach blossoms, peonies, the "hand of Buddha", 1 and other sprays of flowers 
or branches with blossoms. 

The shoulder and the base-line are embellished with brocaded borders in green and 
blue, in contrasting half-tones, interrupted by small white vignettes that inclose sprigs of 
flowers. 

The foot is white and without mark. 

Era of Yung-cheng (1 723-1 735). 

Height, 1 3 inches without cover. 
Diameter, 10 inches. 

1 The "hand of Buddha" ("Fo-show") is a "hand of Fo" or "Buddha"). The fruit is made 
peculiar kind of citrus fruit cultivated to terminate to run into rind, the odor of which is powerful and 
in long, narrow points like fingers (hence called pleasant. 






[55] 



A CATALOGUE OF 



No. 43 

Grand Jar ("rouge d'or"), of fine oviform contour and brilliant-white 
porcelain. 

Decorated in half-toned enamel colors typical of the "famille rose" palette, and sus- 
taining a beautiful shade of rose souffle', interrupted by various panels in white reserve, 
including two large pictorial scrolls that alternate with two leaf-shaped panels having 
pointed foliations; the first panel depicts a large terrace occupied by a lady, in court 
attire, who is seated holding a fan, accompanied by several children. One of the boys 
is amusing himself with a large fish-bowl on a stand, while another boy is talking to a 
parrot. The terrace also holds a jardiniere with a lotus plant; a palm, and a cherry 
tree with blossoms, are shown beyond the railing. 

The reverse panel is similar, and contains also a garden and terrace subject with 
figures. 

Another smaller panel represents the form of a citrus fruit, or "hand of Buddha," 
on which a retired mandarin (T'ao-ming 1 ) is depicted, among flowers, in complete 
emancipation from care. Epicureanism is also suggested by an attendant boy offering a 
duck. 

Other silhouetted panels show two worthies, or sages, with wine-pots : members of 
a famous coterie of learned men in the third century A.D., according to Thornton ("His- 
tory of China"). They, among other things, pretended that human happiness consisted 
in complete freedom from all cares and in unrestrained indulgence in wine, and disre- 
garded all ceremonies and laws. 

Other leaf-shaped medallions contain landscape, bird, and floral subjects minutely 

1 T'ao-ming, great-grandson of a famous Chinese A.D. 420, he adopted the name of "Sage of 

statesman named T'ao-k'an, was noted no less as the Five Willows," in allusion to the trees which 

a scholar and poet than for his devotion to the he had planted near his house, and ended his 

wine-cup. He received an appointment as mag- days drinking, playing upon the lute, and making 

istrate, but eighty days afterward chose to resign verses amid the chrysanthemums that embellished 

his seals in preference to "bending the back" on the garden of his retreat. He died at the age of 

the arrival of a superior functionary, for the sake 62, A.D. 427. (Mayer's Manual.) 
of five measures of rice. Retiring into private life 

[56] 




£*.oH 



io'b-3§uo.H ,ib{ bnsiD 
(§n9rta-gnuY) 






A CAT UE OF 



iNo 



r ("rouge dor"), of fine oviform contour and brilliant-white 



iasn 



orated in half-toned enamel colors typical of the "famille rose" palette, and sus- 
a beautifu! shade of rose souffle*, interrupted by various panels in white reserve, 
ding two large pic tonal it alternate with two leaf-shaped panels having 

pointed foliations; the first panel depicts a large terrace occupied by a lady, in court 

No. 43 

is amusing himself with a I i-bowl on a stand, while another boy is talking to a 

Grand Jar, Rouge-d or 
parrot 1 he terrace also holds a jarcQniere wi is plant ; a palm, and a cherry 

(Yung-cheng) 

The reverse panel is similar, and contains also a garden and terrace subject with 
figures. 

Another smaller panel represents the form of a citrus fruit, or "hand of Buddha," 
on which a retired mandarin (T'ao-ming 1 ) is depicted, among flowers, in complete 
emancipation from care. Epicureanism is also suggested by an attendant boy offering a 
duck. 

OuW silhouetted panels show two worthies, or sages, with wine-pots : members of 

coterie of learned men in the third century A.D., according to Thornton ("His- 

They, among other things, pretended that human happiness consisted 

h-eedom from all cares ar in wine, and disre- 

eremonies and la'i 

Other leaf-shaped medallions cont bird, and floral subjects minutely 

'Tao-ming, great-grandson of a famous Chinese he adopted the name of "Sage of 

■ nan named Tao-k'an, was noted no less as ti Willows," in allusion to the trees which 

and poet than for his devotion to the he had planted near his house, and ended his 

He received an appointment as mag- Ving, playing upon the lute, and making 

istrate, but eighty days afterward chose to resign verses amid the chrysanthemums that embellished 

his seals in preference to "bending the back" on the garden of his retreat. He died at the age of 

the arrival of a superior f' e 62', AD. 427. (Mayer's Manual.) 

of f ring iotc 






CHINESE PORCELAINS 

depicted in various colors; interspersed, and around these medallions on the rose-colored 
ground, are flying storks in "white-slip" decoration. 

The low bell-shaped cover, surmounted by a grotesque " dog Fo," is modem, and deco- 
rated with leaf-shaped panels inclosing floral subjects corresponding to those on the jar. 

This large jar shows the characteristic crimson derived from gold, with other half- 
toned enamels invented under Yung-cheng (1 723-1 735). 

Height, 37 inches with cover. 
Diameter, 1 8 1 / 2 inches. 



I 57 ] 



If 



A CATALOGUE OF 



No. 44 

Grand Decorated Vase (one of a pair), large graceful oviform, with short 
neck and cover. 

Massive porcelain of fine white texture, the "over-glaze" painting in the sumptuous 
"famille rose" palette, presenting, with great decorative skill, a radiant landscape, together 
with a scene of court life that doubtless is an adaptation from some master of the Sung 
or the Yuen dynasty, changed only in its color-tints in accordance with such enticing 
enamels as were employed by the ceramists of the Yung-cheng period, when everything 
was made "couleur de rose." 

The central motive displays a summer pavilion, raised on piles over a lotus-pond, and 
occupied by an emperor (possibly Yii the Great 1 ) enjoying life and the beautiful scene 
about him after his labors to subdue the great floods in China that existed before his reign. 

The potentate is seated and robed in gold; he is holding a closed fan and examining 
the work on another, held for his inspection by a young lady, while two attendants 
with tall fans stand behind; another, to the left, bears a wine-pot on a tray; to the right, 
a "scholar" is approaching from the steps, awaiting his presentation, through a young 
courtier standing near, and who also holds a scholar's emblem. 

The pavilion, with its rich blue-tinted roof supported by yellow columns, is also fin- 
ished with a rich railing, upon which lotus-flower ornaments are suspended ; and a crimson 
valance with a yellow border hangs from the red cornice, completing the accessories. 

The surrounding scene, with its gaily dressed young people of the court enjoying their 
boating among the flowering lotus, presents a most pleasing picture of animation and 
brilliant coloring. The composition is sustained by large-flowering peonies, of gorgeous 
tints, growing near silicic rocky masses, and by a stone-arched bridge, that connects 
with the summer pavilion. Underneath are seen the boats lazily drifting along the wind- 
ing lotus-pond. 

1 Yii the Great was the successor of the Em- of the flood that covered the territories of the 

peror Shun, and reputed descendant of the Em- empire, a task to which he devoted nine years, 

peror Hwang Ti. He commenced to reign 2205 without care for food or raiment. (Mayer's 

B.C. His great work was controlling the waters Manual.) 

[58] 




tr 

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o 

Q 

c 
-a 



E 



c 

06 

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I 




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4- 



A CAT -> F 



No. 44 



. Decorated Vase (one of a pair), large graceful oviform, with short 

z 

i • ^ "nvpr-alazeX painting in the sumptuous 

-elain ° f foe Wh " e £orah tSran. landscape, together 

■""^STS" radap^ (ro. remaster of *e Sung 

™ e "I "t t! -Ic/nts in accordance with such enUang 

ade "couleur < 8, fo lotus-pond, and 

The central mod- * vg*3 f " & ^ ^ bea uurul scene 

occupied by an empero, | 1 ° ,h at e5 i s , e d before his reign. 

aboutbunafterhisU ^.''^ I I" "gT closed fan and examinin, 

The potentate is seat §_ -n , a lw0 at , e ndants 

Ae wort on another, held for his ^^T^^ .chengh 
with tall fans stand behind; another to Ae ^~ ^ ^^ ^ a young 
a "scholar" is approaching from the steps, awarang y v 

courtier srandmg near, and who also hold, a schoWs ^embtan ^ ^ fa _ 

The pavilion, with its rich blue-toted roof supported by y d ^^ 

I .awrdrarichrauing.upon winch lotus-Bower omame s «£*££ ^^ 

.alance wuh a yellow border hangs from ^»™"£3 ^ enioy ing their 

>u „ding scene, wrth -ts garl) ! Wfc ° of animation and 

bg lotus-pond. ^^ the ^ of ^ 

« Yu the Great was the successor of the Em- ^ ^ to which he de voted nine years 

peror Shun, and reputed descendant or/ food or raunent. (Mayers 

peror Hwang Ti. He Manual.) 

B.C. His great work wd -.rag me 

[58] 



CHINESE PORCELAINS 

The picture subject is inclosed at the shoulder by a broad border in brocaded design 
(involving the lotus), with an elaborate scallop-pointed edging that overlaps the white 
ground of the landscape below. This border is followed by another immediately above, 
with a crimson honeycomb-fret, including white reserve medallions and emblematic attri- 
butes; above this, the neck displays fragments of terraces, flowers and herbage, amid 
rocky peaks, on a white ground ; this same motive, with its horizontal line indicating a 
flooded country, is also shown on the base, over which is a band of lotus palmation, that 
also overlaps the landscape subject on the body. 

The cover is bell-shaped and topped by a large knob with a lotus flower, and sus- 
tains a subject similar to that on the vase — i.e., court ladies in boats among the lotus; 
the flanged rim is bordered with a diaper design involving four white medallions with 
emblems. 

Era of the Emperor Yung-cheng (1 723—1 735). 

Height, 33 inches. 
Diameter, 1 9 '/ 2 inches. 



[59] 






A CATALOGUE OF 



No. 45 

Grand Decorated Vase (one of a pair), large graceful oviform, with short 
neck and cover: massive porcelain of fine white texture. 

The painting is in the magnificent palette of "famille rose," and is distributed with 
great decorative skill over the entire surface, displaying a radiant landscape in combina- 
tion with court life. 

The central motive depicted includes an Imperial summer pavilion, with an emperor 
(as in the other vase) seated and surrounded by personages of the court. The picture 
shows attendants bearing trays with objects of tribute or for presentation; two scholars 
are seen to the left of the Emperor, and probably await the bestowing of gifts, while 
the Emperor continues his interrupted conversation with the young lady of his court. 

The columns of the pavilion are glazed in yellow, supporting a crimson cornice that 
is also decorated with a yellow border, and a rich roof (like a pagoda), with curling eaves, 
glazed in blue to represent porcelain; a crimson valance is also suspended from the 
cornice, which, together with a rich railing involving lotus-flowered ornaments, completes 
the accessories. 

The surrounding landscape is an imposing garden with gaily dressed young court 
people, enjoying boating among the flowering lotus, and presents a pleasing picture of 
animation and brilliant coloring. The composition is sustained by gorgeous flowering 
peonies growing near silicic rocky masses, and by a stone-arched bridge that connects 
with the pavilion, and underneath which boats are lazily drifting. 

The pictorial scene is inclosed at the shoulder by a broad brocaded border with scallop- 
pointed edging in deep rose, involving the lotus flower; this border is followed by another 
immediately above, in a crimson honeycombed fret, with white reserved medallions in- 
closing emblematic attributes. 

The neck displays a white ground with fragments of terraces, including flowers and 
herbage amid rocky peaks, all showing above a horizon-line at shoulder. The same 
motive, on a white ground, is also shown below on the base, over which a blue band 
of lotus palmation, with a crimson outline, overlaps the scene above. 

[60] 



CHINESE PORCELAINS 

The bell-shaped cover, topped by large knob bearing a lotus blossom, sustains a similar 
subject with court ladies in boats among lotus flowers, and is bordered, on the flanged 
rim, with a diaper design involving four white medallions with emblems. 

Height, 35 inches. 
Diameter, 1 9}l 2 inches. 

Era of the Emperor Yung-cheng (1 723-1 735). 






[61] 



A CATALOGUE OF CHINESE PORCELAINS 



No. 46 



Seven-bordered Egg-shell Plate, so-called "rose back": le., a light and 
solid rose souffle ("rouge d'or") enameling on the outer band, and its 
face richly painted in soft-toned colors of the "famille rose" variety and 
Yung-cheng palette. 

The decoration consists of so many borders, in varying widths and forms, minutely 
drawn, and framing the central picture-panel, that is in the shape of a foliated leaf, and 
presents a lady of high rank, in rich attire, who is seated ; near her are two small children 
whom she is watching or directing in their amusement: one holds a lotus flower (a favorite 
Chinese symbol, which also indicates the season to be summer), and the other boy carries 
a gilt toy (" Ju-i"), wand or scepter. The various accessories are rendered in delicate and 
accurate details, on a white ground that reveals a most beautiful quality of porcelain, and 
includes two large jars, a table with scrolls, books, and other objects, notably a small vase 
with varied articles used by a Taoist student, while a second vase, holding a coral stick 
and two peacock feathers, indicates that the family belongs to an official class, having a 
"three-grade promotion" at one time, bestowable by the Emperor. 

The seven borders include, first: the green arabesque motive with five rose-colored blos- 
soms on a gold ground, directly surrounding the center panel ; this border is followed by 
a narrow band having a diamond fret in pale green ; then a broader border with conven- 
tionalized dragon scrolls in two shades of rose, interrupted by four blue-ground vignettes 
with lighter blue arabesques; the fourth border, in a yellow scroll, finishing the top edge of 
slope, is followed by a foliated border filled in with a delicate "Y "-shaped fret in green; 
this band, with its scallops and gilded edge, overlaps the honeycomb reticulation on a lilac 
ground, that is also studded with four round archaic scrolls, alternated by four white re- 
served medallions containing flowers in natural colors minutely depicted, notably the peony, 
chrysanthemum, and aster, edged with a small "T "-pattern band. 

The seventh and last border (from the inside) bears a conventional Chinese arabesque 
in gold, and finishes the rim, or outer edge, of this remarkable plate. 

Ascribable to the period of Yung-ch&ng (1723-1 735), when the carmine, or rose- 
color (derived from the chloride of gold), and the half-tone glazes, were first invented. 



Diameter, 8'/i6 inches. 
Height, 1 3 / 6 inches. 



[62] 







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A CATALOGUE SE PORCELAINS 






Seven-bordered Egg-shell Plate, soiled "rose back : U a light and 
solid rose souffle ("rouge d'or") enameling on the outer band, and its 
face richly painted in soft-toned colors of the M famille rose* vanety and 
cheng palette. 

•rotation consists of so many borders, in varying widths and forms minutely 

nd framing the central pic^e-panel, that is in the shape of a foliated Jeal a 

lady of high rank, in richgtftire, who is seated; near her are two small children 

om she is watching or directing iflheir amusement: one holds a lotus flower (a ravonte 

!in ese symbol, which also indicate season to be summer), and the other boy carnes 

a gilt toy (" Ju-i"), wand or scepter.S-The various accessories are rendered i in delicate and 

accurate details, on a white |J | 

mdudestwoUrgejars,atab,i|- 4 "* other objects, notably a smaH vase 

with varied articles used by a J ~ flat. , e, holding a coral stick 

and two peacock feathers, indicttef that the family belc 
"three-grade promotion" t one 1%, bestowable by I 

[lie seven borders include, first: t|e green arabesque motive with five rose-co bred bios- 
soms on a gold ground, directly surfunding the center panel ; this border is followe 
a narrow band having a diamond ffet in pale green; then a broader border with c 
rionalized dragon scrolls in two shades of rose, interrupted by four bue-ground vignettes 
with lighter blue arabesques; the fourth border, in a yellow scroll, finishing the top edge ot 
slope, is followed by a foliated border filled in with a delicate "Y -shaped fret in green; 
this band, with its scallops and gilded edge, overlaps the honeycomb regulation on a lilac 
ground, that is also studded with four round archaic scrolls, alternated by lour white re- 
! medallions containing flowers in natural colors minutely depicted, notably the peony, 
num. and aster, edged with a small "T'-pattem band, 
venth and last border (from the inside) bears a conventional Chinese arabesque 
gold, and finishes the rim, or outer edge, of this remarkable plate 
Ascribable to the period of Yung-cheng (1723-1735), when the carmine, or rose- 
color (derived from the chloride of gold), and the half-tone glazes, were first invented. 

Diameter, 8'/, 6 inches. 
Height, 1 3 / 8 inches. 

[62] 



CABINET OBJECTS 

A SERIES of cabinet objects, enameled in "three colors," of Ming and 
early K'ang-hsi ("Ching") porcelain, showing unglazed portions of the 
biscuit, or a paste with less kaolin, and characteristic of the early periods 
under which they were produced. 

Included also are so-called tea-pots, although their ancient use is said 
to have been for serving spiced wines. Of these objects various types are 
represented in polychrome decoration, with the distinctive early "famille 
verte" glazes. 

The decoration is executed chiefly in unshaded colors, and the examples, 
especially those made under the Emperor K'ang-hsi, show much refine- 
ment and delicacy in the handling of the three translucent glazes — i.e., 
green, yellow, and purple (aubergine). These "three-colored" pieces are 
so called by the Chinese, in distinction from the "five-" and "seven- 
colored" classes. Black sometimes figures in these types, being used to 
outline the designs on the biscuit before the other glazes are employed. 



[63] 



te 



A CATALOGUE OF 



No. 47 

Tea-pot, melon form, of hard-paste porcelain simulating curved and split 
bamboos; the spout is also formed like a shoot of bamboo, while the 
handle, in imitation of ratan, is glazed in amber-yellow, on which the 
black rings imitate wickerwork. 

The globular body is painted with small floral decorations of various kinds, in poly- 
chrome colors, distributed on the bamboo sections over a white ground, in an alternate 
design, and a red-fret band inclosing the neck and base. 

The cover is similarly decorated and grooved, and finished with a scalloped edge and 
a penciled border. 

The foot is white. 

Era of K'ang-hsi (1662-1722). 

Height, 6V4 inches. 
Diameter, 4 inches. 



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>me colors, distrit the bamboo se 

design, and a red-fret band inclosing the nee 

The cover is similarly decorated and groo 
a penciled border. 

The foot is white. 

Era of Kang-hsi (1662-1722). 



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Diameter, 4 inches. 



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CHINESE PORCELAINS 



No. 48 

Tall Wine-pot (its ancient use), of hexagonal form, decorated " sur bis- 
cuit," with heavy greenish-black enamel of iridescent quality. 

Each side sustains raised upright panels in openwork, with bamboo foliage modeled 
in relief, simply glazed to show an old-ivory tint over the biscuit, in contrast to the bril- 
liant black body-color, that, in turn, is relieved with red flowers and green stems painted 
on the shoulders. 

A bordering of red and white palm leaves in slight relief finishes the base; while the 
neck is invested by a brocaded band stippled in black, and showing a fungiform symbol 
on a green ground. 

The handle is in shape of a leaping fish, and glazed in yellow; the curved spout, 
starting from a rudimentary turtle head, is also in yellow, together with light-tinted man- 
ganese. 

The lower and upper margins are plain and thinly glazed, leaving the biscuit tint. 

The cover also is pierced with a bamboo and foliage motive, and glazed in yellow, 
green, and light (manganese) purple. 

The foot is in biscuit. 

Ascribable to early K'ang-hsi, but its form partakes of the Ming type. 

Height, 6'/ 4 inches with cover. 
Diameter, 4 inches. 



[65] 



A CATALOGUE OF 



No. 49 

Ming Spice-bowl, low oviform, with handle and cover, decorated over 
hard biscuit paste, in early "famille verte" colored glazes. 

The outer and superposed casing, with vertical divisions and braided cord bands, sus- 
tains a pierced diaper design, involving a slightly raised flower, with twigs in the six 
divisions, glazed in red, yellow, and light (manganese) purple. 

The neck is encircled by a red wave motive, penciled in outline against a vermicu- 
lated ground. A red and white tracery border surrounds the base. 

The rounded handle is glazed in amber-color, and finished with black rings to repre- 
sent tied wickerwork. 

The cover also sustains a yellow glazed piercing in fret design, with green foliage and 
red blossoms, and is finished on the edge with a red border, at the top by a small "dog 
Fo." 

The under foot is white. 

The porcelain and enamel colors are ascribable to late Ming. 



Height, 4 3 / 4 inches. 
Diameter, 4' At inches. 



[66] 



CHINESE PORCELAINS 



«P 



No. 50 

Tall Wine-pot, of hexagonal form, decorated "sur biscuit" in the early 
"famille verte" style, including a heavy greenish-black enamel body- 
color of brilliant quality. 

Each of the six sides contains a raised upright panel with pierced and finely modeled 
lotus flowers, glazed in transparent ivory and green tints. 

The shoulders sustain a lotus brocaded band of light-green ground, with red and light- 
purple flowering, and the neck is also inclosed by a light-green brocaded band, with a 
separate fungiform symbol on each side. 

The base is finished by a series of red and white palm leaves, and includes a narrow 
border in red tracery at the foot. 

The handle partakes the curved form of a leaping fish, and is glazed in amber-color, 
with red fins; the curved spout springs from the mouth of a turtle in rudimentary form, 
and is also glazed in amber-yellow. 

The cover is pierced with a lotus design, modeled and picked out in glaze to match 
the pot. 

The foot is biscuit and without mark. 

Ascribed to early K'ang-hsi, the form represents an early Ming type. 

Height, 6V4 inches. 
Diameter, 4 inches. 



[67] 



A CATALOGUE OF 



No. 51 



Tea-pot (called also wine-pot), early " famille verte" porcelain. 

Cylindrically formed in imitation of bamboo staves joined together, with handle and 
spout curved; the grooved divisions formed between the bamboo rings are decorated in 
polychrome colors with small floral sprays alternating with roosters on a white glazed 
ground, a dotted border inclosing the upper edge and the base. 

The flat cover with scalloped edge partakes the form of the split bamboo outline of 
the body, has a small raised bamboo branch as knob, and is decorated to match the 
tea-pot. 

Foot, with biscuit edge, bears a blue hall-mark of "Praise." 

K'ang-hsi (1662-1722). 

Height, 4 inches. 
Diameter, 3 '/ 2 inches. 



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oirved; the grooved divisions ^ 
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Height, 4 inches. 
Diameter, 3 7 2 inches. 



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No. 52 

Tea-pot (called also wine-pot), of hard-paste porcelain in early "famille 
verte." 

Cylindrically formed, and in imitation of split bamboo joined together, with the handle 
and spout curved. 

The ring-like divisions of the bamboo are picked out with small floral decorations on 
the various tinted grounds, including pale green, light lavender, and amber-yellow. 

Its cover partakes the scalloped outline of the pot, and is tipped with a bamboo 
twig for handle, and also painted with bamboo foliage, all emblematic and symbolical 
of longevity. 

Ivory-tinted glaze at the foot, with biscuit rim. 

Era of ICang-hsi (1662-1722). 

Height, 3 3 /4 inches. 
Diameter, 3 '/ 4 inches. 



[69] 



i 



A CATALOGUE OF 



No. 53 

Tea-pot (called also wine-pot, from its ancient use), early "famille verte" 
porcelain, hexagonal shape, the six sides sustaining slightly raised and 
pierced panels on which the lotus flower, with its foliage, is represented 
in brilliant colors, including a pale-green body-color. 

The sides are inclosed by a bamboo framing, which connects with the square bam- 
boo handle and curved spout, all uniformly glazed in a pale violet; the upper surface, 
over shoulder, is invested with a small diaper decoration in green; the attenuated neck 
is fitted with a small pierced and decorated cover, tipped by a small red button harmo- 
nizing with the sides, and bordered in green with hatching. 

The foot is glazed in an ivory-toned glaze. 

Era of K'ang-hsi (1662-1722). 

Height, 6 '/ 2 inches including handle. 
Diameter, 4 inches. 



[70] 



CHINESE PORCELAINS 



No. 54 

Pair of Small Vases, with porcelain stands and covers, quatrefoil form 
and vertical grooved lines, decorated "sur biscuit." 

The body of these vases with the covers and stands have a uniform design, carried 
out in "three-color" enamels, which prevailed during the dynasty of the Ming, under 
the Emperor Ch'£ng-hua. 

The features are four foliated panels displaying the tiger-lily, or lotus flower, con- 
ventionalized, and glazed in yellow, green, and aubergine (manganese purple), bordered 
in multifoil form, and imposed upon a finely penciled diaper ground flowered in green 
and yellow, interrupted at the base by a band of palmation, in the same colors, includ- 
ing aubergine. A small band of lotus petals, in opposite directions and divided by a 
narrow band, encircle the neck and shoulder. 

The low octagonal covers have lotus petals, with knob top, and the base is deco- 
rated with a fret band and blossoms. The stands are decorated to match the vases, 
and also show the biscuit paste unglazed. 

Attributed to the dynasty of Ming. 

Height, IOV2 inches. 
Diameter, 3 V2 inches. 



[71] 



A CATALOGUE OF 



No. 55 

Hexagonal Case (Butterfly or Cricket Cage), with perforated cover and 
slightly raised base or tray. 

The six sides of cover show two small oblong piercings, and a square reticulated 
ornamentation involving the "swastika" symbol, an ancient mystic diagram and an alle- 
gory of the blessing of long life. 

The top of cover has a perforated geometrical foliation within a circle, and the re- 
maining surface and sides are uniformly decorated with a finely penciled green diaper 
with red flowering. 

The base also contains oblong perforations, which divide the brocaded border deco- 
rations on the six sides. 

The interior is unglazed, as is also the foot, showing the biscuit paste to be white. 

Attributable as late Ming or early Ch'ing porcelain. 

Height, 7% inches including cover and base. 
Diameter of cover, 6V4X6V4 inches. 



[72] 




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Hexagonal Case (Butterfly or Cricket Cag $> perforated cover and 
H iised base or tray. §: 

Twl I E otcover show two small Sf 3 * and a square , 

JZ.iH ?,g the "swastika" sym ff? ? diagram and an alle- 
1 S" * <>3f long lit ~ |. P » 

The! I cover has a perforated geometrical - .a circle, and the re- 

maining sulce and sides are uniformly decorate ». V pencrled green draper 

^Thfhat^ontains oblong perforations, which d . e brocaded border deeo- 

rations on the six sides. . , , . 

The interior is unglazed, as is also the foot, lowing the biscuit paste to be white. 
Attributable as late Ming or early Ch'ing porcelain. 

Height, 7 3 / 4 inches including cover and base. ^ 
Diameter of cover, 6 '/ 4 x 6 V* inch 7s '$ z 



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[72] 



CHINESE PORCELAINS 



No. 56 

Two Small Cups (six-sided), with lotus-formed panels enameled in a 
greenish-black, including small chrysanthemums and various other 
flowers in blue and ivory-white. 

A yellow and white palmation border surrounds the base, and the interior rim is 
bordered with a red vermiculated band; included are free floral plants in colors on a 
white ground below. 

The small foot is glazed in white, without mark. 

Era of K'ang-hsi (1662-1722). 



Height, 2% inches. 
Diameter, 3 ] / 4 inches. 



[73] 



iD 

97 






A CATALOGUE OF 



No. 57 

Ming Head-rest, oblong with slightly concave sidles, elaborately deco- 
rated "sur biscuit" in "three colors," notably yellow, green, and au- 
bergine. 

The design suggests two brocaded cloths with scalloped edging, on which appear 
two phoenixes, or " Fung-kwang" (the attributes of an empress), glazed in green and 
aubergine on a flowered yellow tessellated ground. The center shows a peony in au- 
bergine, and the other flowers are in ivory-white. 

The alternating sides have overlapping brocaded bordering, showing a fine diaper 
pattern in yellow and green, with a central rosette, representing a coin (emblem of 
riches); and to the right and left are medallions, one with landscape of square form, 
the other, leaf-shaped, showing allegorical fruit (peach) in a dish: an emblem of mar- 
riage. 

The other side is similar in its decoration, differing only in the two panels, one being 
leaf-shaped with butterflies (symbolical of felicity), and the other in the form of a fan, 
with allegorical gift objects (denoting official rank); the top is finished with a fret bor- 
der at either end, in lavender, green, and yellow. 

The two end panels are sunken and show yellow ground with pomegranates in the 
four comers, alternated with the symbol swastika (a mystic diagram), edged with a 
yellow, green, and lavender (diamond-fret) border. 

Dynasty of Ming, probably Cheng-hua (1465-1487). 

Size, 1 4 3 / 8 x 4 V 4 x 4 3 / 4 inches. 



[74] 



CHINESE PORCELAINS 



No. 58 

Cabinet Figure (seated statue) of Kuan Yii, sometimes called Kuan-ti, or 
"God of War," brilliantly decorated "sur biscuit" in transparent glazes. 

This idol is a deified hero of the civil wars (third century A.D.). Usually with a 
slightly frowning mien, he is represented here with dignified features, long whiskers, and 
mustaches of real hair. The coat of mail is shown in biscuit form and partly visible at 
the chest, under a green glazed robe, that is embellished with yellow and light-purple 
(manganese) dragon and arabesques, including large mask on the front. The face, hands, 
and feet are reserved in biscuit form. 

The open pedestal is partly in biscuit, and enameled in three distinct glazes of the 
early " famille verte " colors ; a finely executed diaper design with flowering in the form 
of brocaded silk. 

Ascribed to a late period of the Mings. 

Height, 1 1 inches. 
Width, 5 inches. 
Depth, 3 inches. 



[75] 



A CATALOGUE OF 



No. 59 

Small Cabinet Bottle, of globular form, with long slender neck, of fine 
white hard-textured porcelain. 

Painted in colored enamels similar to its companion, but with a lighter design and 
smaller foliage. 

The motive includes conventionalized convolvulus flowers, upon delicate wavy vine- 
like stems covered with small leaves, and uniformly distributed in red, yellow, green, and 
blue over the glaze, in varying tints. 

The shoulder carries a brocaded border, with similar detail, on a stippled aubergine 
ground, and the cylindrical neck is encircled with a brocaded fret bordering at the 
upper rim. 

The foot bears a mark like that on its companion (No. 60). 

Ascribed to the eighteenth century. 

Height, 9 5 /8 inches. 
Diameter, 4 3 /4 inches. 



[76] 








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The motive includes con 
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The shoulder carries a b> 
ground, and the cylindrical 
upper rim. 

The foot bears a mark lil anion (No. 60). 

Ascribed to the eighi 



with long slender neck, of fine 



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ers, upon delicate wavy vine- 
/uted in red, yellow, green, and 

nilar detail, on a stippled aubergine 
a brocaded fret bordering at the 



Height, 9 5 /a inches. 
Diameter, 4 3 /4 inches. 



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[76] 



CHINESE PORCELAINS 



No. 60 

Small Cabinet Bottle, of globular form, with a slender cylindrical neck, 
in fine white hard-textured porcelain, and painted in colored enamels. 

The design carries conventionalized convolvulus flowers with fine scrolled vines and 
leaves; all are carefully rendered and uniformly disposed in varying tints of green, yel- 
low, red, and blue over the glaze. 

The shoulder carries a brocaded border, with similar detail and flowers, on a stippled 
aubergine ground, and the long neck is encircled by a brocaded fret bordering at the 
upper rim. 

The foot bears a mark which is an imitation by the Chinese of old delft faience. 

Ascribed to the eighteenth century. 

Height, 9'/2 inches. 
Diameter, 4 3 At inches. 



[77] 



A CATALOGUE OF CHINESE PORCELAINS 



No. 61 

Cabinet Jar, ovoid form, with its own bell-shaped cover; fine white hard- 
paste porcelain, decorated in subdued enamel glazes of early "famille 
verte" variety. 

The body sustains a light-yellow glazing of amber tone, over which a delicately 
penciled green arabesque motive is uniformly distributed ; the free design consisting of 
long, curved vine stems bearing circular convolvulus blossoms with leaves and numerous 
twigs in conventionalized style. 

The shoulder carries a brilliant-red floral border, showing the design of buds and 
stems in white reserve ; the base is bordered in a blue netted fret (under the glaze), with 
a white ground that is inclosed on each side by double lines. 

The foot is in white and bears a blue double ring under the glaze. 

The cover is similarly decorated in green on a yellow ground, and topped by a white 
knob with a red chrysanthemum embellishment. 

Produced in the era of K'ang-hsi (1662-1 722). 

Height, 1 V2 inches with cover. 
Diameter, 8 inches. 



[78] 



"FAMILLE VERTE" DECORATION 
OVER THE GLAZE 



PAINTED WITH FUSIBLE COLORS, AFTER THE GLAZING HAS 
BEEN APPLIED TO THE WHITE PASTE AND SUBJECTED TO 
THE PROPER FIRING. 

The group of tall vases described and illustrated on the following pages, 
with decoration upon a white foundation in transparent enameling over 
the biscuit paste, form a class by themselves, are so recognized in China, 
where they have always held a high place in private collections, and now 
rank among the highly prized productions of Eastern ceramics. 

Several examples are characteristic types in paste and colors produced 
in China under the Mings; others date from the end of that dynasty, or 
were produced in the reign of the Emperor K'ang-hsi, when such products 
reached a definite character. Their distinctive forms, their beauty, and the 
manner in which the enamels are employed to heighten intensity of effect, 
combine to attest their provenance. 



[79] 



A. CATALOGUE OF 



No. 62 

Grand Vase, tall and graceful, of "balustre" shape, with long spreading 
neck: ' famille verte' type of rare quality, and of brilliant white 
porcelain, elaborately decorated in rich translucent enamels, and in full 
colors of the palette of its period. 

The design includes panels of diverse forms that sustain individual subjects, attrac- 
tively painted on the white glazed body, and reserved from the intricate green-brocaded 
ground-color, with its finely penciled ("honeycombed") diaper, over which are interspersed 
numerous conventionalized blossoms, in yellow, red, and blue opaque enamels; included 
are also various Taoist emblems, shown near the shoulder. 

The largest panels are alternately upright and foliated, the former beautifully embellished 
with two separate motives — i.e., landscape scene, and a flowering tree with its blossoms 
delicately rendered, rooted among rocks, and also enlivened by birds. The two foliated 
panels sustain, separately, a landscape with deer, and lotus flowers with birds, all carefully 
painted upon the white glazed ground with colors showing a peculiarly delicate luster. 

The three lower panels are smaller and in varying outlines of a leaf, displaying alter- 
nately floral and bird subjects, a "dog Fo," and also mountainous landscape with a 
distant and barely visible pavilion. 

The tubular neck is surrounded by varied leaf-shaped panels, including fan and foli- 
ated forms, that sustain separate subjects; notably birds and flowers with landscape; one 
panel includes the fabled grotesque Ky-lin (Ch'-lin), emblematic of good government. 

The upper rim of neck is finished by a diapered band of " flowered honeycomb," in- 
terrupted by white vignette panels displaying emblems; the shoulder is also encircled by 
a similar broad honeycomb band, divided by vignettes in white, that show the fabled 
and grotesque lion or " dog Fo." 

The base is finished by a diaper band divided by four white vignettes, inclosing 
symbolic ornaments, which, together with the others on neck, complete the set of " Pa- 
pao," or eight "precious things," distinguished by the ribbons entwined with each. 

[80] 




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?,UE OF 






£? 



id Vase, tall and grac< 
neck: " famille verte ' 
porcelain, elaborateK 
colors of the palette 

The design includes pa; 
lively painted on the white gUze 

jnd-color, with its R 
numerous conventiona 
are also various Taoist en 

The largest panels are a 
with two separate motives 
del andered, roote- 

an, separately, a lar 
painted upon the white glaze' 

The three lower pane 



shape, with long spreading 
are quality, and of brilliant white 
rich translucent enamels, and in full 



is that s idual subjects, attrac- 

ed fron *reen-brocaded 

No. 62 

red, and blue opaque enamels; included 

Grand Vase, Seven-color decoration 
^ar tne snoulck 

(K'ang-hsi) 



., Ian ie, and a fl< 



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tifully embellished 
tree with its blossoms 



g roc If also enlivened by birds. The two foliated 

ape with deer, and lotus flowers with birds, all carefully 
round with colors showing a peculiarly delicate luster, 
nailer and in varying outlines of a leaf, displaying alter- 
nately floral and bird subj'x I also mountainous landscape with a 
distant and barely visible p 



The tubular neck is 
hat sustain 
the fab I 
The upper rim of nee 
pted by white vign 
a similar broad honeycomb ban 






ed ] » fan and foli- 

mdscape; one 
Z°°d g 

ib," in- 

:>ed by 

>w the fabled 



anc }ue lion or "dog 1 

Th is finished by white vignettes, inclosing 

symh iments, w! Wth the others on neck, complete the set of "Pa~ 

" or eight "precious thing guished by the ribbons entwined with each. 

[80] 



J 



CHINESE PORCELAINS 

These tall vases are sometimes called "Imperial" or "Palace Vases," and their 
decoration in "seven" colors is always refined, and of great artistic excellence in details 
of drawing. 

Era of K'ang-hsi (1662-1 722). 

Height, 30 inches. 
Diameter, 1 1 7 4 inches. 

From the Salting Collection, London. 



[81] 



u 



A CATALOGUE OF 



No. 63 

Cylindrical Vase, club-shaped, with rounded shoulder and tubular neck 
attenuated and slightly flaring. Fine-textured hard porcelain, decorated 
in the "seven-color" palette of K'ang-hsi, "famille verte" type, and 
of brilliant quality. 

The boldly drawn mountain landscape and figure subject is carried right around and 
helped out at the back by large rocks and trees, with conventionalized mist and clouds. 

The motive with figures is centered by an emperor, presumably Wu-ti (Han dynasty), 
seated in a richly mounted and wheeled palanquin, accompanied by a retinue of at- 
tendants and armed body-guard ; in the distance, an approaching army is suggested by 
the numerous banners and standards partly visible, among the defiles of a mountain pass. 

The subject illustrates an interesting and famous episode in Chinese history (1 08-1 01 
B.C.); the mounted warrior is Li Kuang-li, who had been dispatched two years previously, 
with a large following, to avenge the murdering of a former expedition, that had been sent 
(also by this Emperor) to a distant domain, ruled by T'a-yuan, who was known to possess 
rare blooded horses of a Turkoman strain, that were secreted in one of his provinces 
(Ir-schi). This first mission, heavily loaded with presents, and including a large following, 
was purposely waylaid on approaching its destination and foully murdered, which led to 
a second mission, intrusted to Li Kuang-li, who, as general, headed an army for this pur- 
pose, but returned, as shown above, without accomplishing anything or bringing any of 
the famous horses, so much desired by his Emperor. On this account the Emperor, who 
had traveled to the frontier to meet Li Kuang-li, and discovered his failure, forbade him 
or any of his troops to cross the border on pain of death. 

Subsequently another invasion of Ir-schi, and against T'a-yuan, was ordered by this 
Emperor, including a large army, recruited by the same general, composed of 60,000 
men, half of whom were killed in this expedition, conquering T'a-yuan. 

Numerous banners are visible, but three bear mystic and rather enigmatical devices : 
i.e., one behind the Emperor's vehicle displays the ancient and curious combination of 
mystic points called " Lo-chou," inspired in very remote times, and very seldom seen on 
porcelain. 

[82] 




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ded shoulder and tubular neck 
S ed hard porcelain, decorated 
£ type, an 






The boldly drawn mountain landscape a 
ed out at the back by large rock 
The motive with figure 

;n a richly mounted and wr 
its and armed body-guard; in the 
the numerous banners and ste 

The subject illustrates an 
B.C.) ; the mounted warrior i j ng-li, w 

with a large following, to aven 
(also by this Emperor) to a di.< 
blooded horses of a Tu 
-schi). This first mission, r 
was purposely waylaid on approa 
econd mission, intrusted to Li 1 
Be, but returned, as shown atx 
famous horses, so much desire 
i traveled to the frontier t 
j of his troops to ci 
quently another invasi 
lading a large army, 
i, half of whom were killed iri 

banners are visible, but 
rie behind or's vehicle displays the 



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nain, ruled 






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is carried right around and 
ionalized mist and clouds. 
, Wu-ti (Han dynasty), 
a retinue of at- 
i by 
mountain pass, 
history (108-101 
ed two years previously, 
er expedition, that had been sent 
,.n, who was known to possess 
: ecreted in one of his provinces 
sents, and including a large following, 
ition and foully murdered, which led to 
is .general, headed an army for this pur- 
P sshing anything or bringing any of 
2 On this accounl 

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pore 



[82] 



CHINESE PORCELAINS 

A second banner or standard is in green with purple edging, and shows part of the 
popular "eight trigrams" known as " Pa-kwa," a mystic symbol often seen on porcelain. 

Another banner bears the circular symbol "Yang and yin," representing the active 
and passive principle in development. 

This picture, which is so admirably composed, with so much decorative force, is 
probably an adaptation from an old painting of remote times, and is here perfectly ren- 
dered in harmonious and transparent colors. 

The shoulder is encircled by a three-color motive, involving a fungus plant amid waved 
lines ; and the white-glazed body-color of the neck extends to the upper rim, where it 
is finished by a green fret and a line of dots, and below displays four large decorative 
characters, "Shou" and "Fu" alternately, in opaque blue enamel. 

The base is slightly curved and shows a clean-cut margin in white. 

The underneath foot has a blue ring under glaze. 

Era of K'ang-hsi (1 662-1 722). 

Height, 1 8 inches. 
Diameter, 7 V 2 inches. 



[83] 



A CATALOGUE OF 



No. 64 

Tall Cylindrical Vase, with rounded shoulder and attenuated neck (club 
shape), of fine white hard-textured porcelain, richly decorated over the 
glaze, in "seven colors" of the "famille verte" variety, of rare brilliancy, 
with gilding. 

The body is covered with a brocaded design on a stippled green ground, includ- 
ing scroll-formed vines, with leaves, and aster flowers, in brilliant red (of iron); this 
color also forms a bordering for three large upright panels, which are reserved in white, 
and separately painted, bearing the three star gods: The first presents Fu Hsing, "God 
of Happiness," clad in green with purple trimming, wearing an ancient black head- 
covering showing a crest, and holding a long golden tablet in one hand, with the other 
stroking his long beard, a boy attendant following, carrying a heavy scroll. The back- 
ground includes an elaborate railing, and, above, a line of clouds finishes a dignified 
picture. 

The second panel sustains Lao Tsze (Shou-lao), the " God of Longevity," with high 
bald head and mobile face, leaning on a long staff, clad in Imperial robes, brocaded with 
circular longevity symbols of "Shou" and " Fu"; a boy attendant is bearing a fabulous 
peach (" Fan-tao"), the attribute of this deity. 

The third panel holds Lu Hsing, the "God of Rank," richly attired in brocaded 
robes and holding a "Ju-i" scepter, in red; also attended by a boy who is reaching for 
the symbol of rank. A bamboo railing forms an accessory, and completes the panel. 

The shoulder sustains a rich brocaded diaper bordering interrupted by four white 
foliated medallions, showing Taoist emblems; the white margin-lines, reserved on each 
side, are followed by a fungiform or lanceolate bordering, one of which overlaps the 
body, and the other is at the edge of neck. 

The tubular neck presents a fine white paste simply embellished by three characters, 
"Fu," "Lu," and "Shou," 1 painted in green and yellow enamel colors over the glaze, 
simulating applique brocaded silk. The upper part of neck is encircled by a green 

1 Fu, happiness ; La, official rank ; Shou, long life ; Triad of the Taoist cult. 

[84] 



CHINESE PORCELAINS 

diaper border followed by small vermiculated bands in a deep coral-red, and the rim 
bears a small key-pattern fret. 

The base is finished by a scalloped and dentate border, against the green brocaded 
field above. 

The foot is of fine white texture, without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 1 8 inches. 

Diameter, 7 inches at shoulder. 



[85] 



A CATALOGUE OF 



No. 65 

Tall Cylindrica Vase, with rounded shoulder and attenuated neck (club 
shape), of fine white hard-textured porcelain, richly decorated over the 
glaze in the "famille verte" palette of "seven colors." 

The body of vase is covered with a brilliant brocaded design, including coral-red 
lotus flowers, that are dispersed over the transparent and stippled green ground, together 
with green leaves; dragons in light green and opaque blue are also involved. 

Two large upright panels are reserved and separately embellished with rural land- 
scapes: rice and silkworm cultivation and figures. 

The first panel shows a group of ladies at a window, with an awning (disclosing an 
interior wth racks holding silkworm trays that are referred to in the Poem above); one 
of these ladies holds a basket. Another lady, carrying mulberry plants, is approaching 
the house from an adjoining veranda, followed by an attendant carrying a basket full of 
these leaves on his shoulder. 

The foreground shows rocks and herbage glazed in varying tints of green; a finely 
painted tree is in the background, close to the house. The poem and motive are derived 
from a publication known under the name of Kong-chi-t'u, published, under the Emperor 
K'ang-hsi's orders, by the artist Tsiau Ping-chon. 1 

The second panel represents a watered rice-field, with laborers engaged in sticking 
bunches of rice plants into the watered mud near a house; a bridge, and other accesso- 
ries of trees, rocks, and herbage, are all carefully and minutely rendered, in brilliant and 
transparent glazes of rare clearness, and with considerable regard to perspective values. 

A bordering in green key-fret frames these two panels, and the shoulder embellish- 
ment begins with a small dentate border, leaving a white margin inclosed between lines, 
and a double row of dots, followed by carefully rendered coral-red palmation, and by a 
green fret at the junction of neck and shoulder. 

1 The painter Tsiau Ping-chon was a native of the near and the far correspond to the large and 

Tsi-ning in Shan-tung, and occupied the position to the small without a mistake, for he worked 

of a director in the Astronomical Board in Pekin. according to the method of the West." "An 

As an artist he is described by his Chinese biog- observation," writes Professor Hirth, " which 

raphers as follows: "In placing his figures he made seems to be confirmed by his work." 

[86] 



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shape), of fine white hard-textured fx>rcelain, richly decorated over the 
glaze in the "famille verte" palette of "seven colors." 



ody of vase is covered v% jlliant brocaded design, including coral-red 

~rs, that are dispersed over t |$ ent and stippled green ground, together 

le blue are also involved. 

'■■' embellished with rural land- 






green leaves; dragons m light pet 
Two large upright panels ar<- 

>es: rice and silkworm 
The first panel shows a group of la 
interior wth racks holding 
of these ladies holds a ba \notr 

the house from an adjoining veranda, f< 
these leaves on his should 

The foreground shows r< i herbage glazed in varying tints of green; a finely 



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Poem above); one 

mulberry plants, is approaching 

:ndant carrying a basket full of 



painted tree is in the background 
from a publication known un< 
K'ang-hsi's orders, by the art 

The second panel represe; 
bunches of rice plants into uV 
ries of trees, rocks, and he r 
transparent glazes of rare c 

A bordering in green key 
ment begins with a small den 
and a double row of dots, follow 
in fret at the junction of neck 



>se to the The poem and motive are derived 

lame of Kong-chi-t'u, published, under the Emperor 
lu Ping-chon. 1 

I rice-field, with laborers engaged in sticking 
mud near a house; a bridge, and other accesso- 

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Tsi-ning in Shan-tung, and occupied the position 
of a director in the Astronomical Board in Pekin. 
As an artist he is described by his Chinese biog- 
raphers as follows: "In placing his figures he made 



orrespond to the large and 

a mistake, for he worked 

according to the method of the West." "An 

observation," writes Professor Hirth, "which 

seems to be confirmed by his work." 



[86] 






//' 



CHINESE PORCELAINS 

The neck sustains a green diapered ground in purple and yellow penciling, interrupted 
by four white reserved panels, that are separately decorated; the two larger show gift 
objects (vases and censers), and two fan-shaped medallions contain flowers. The rim 
is bordered by a key-fret in green. 

Underneath foot in white and without mark. 

Era of K'ang-hsi (1662-1722). 

Height, 1 7 V2 inches. 
Diameter, 7V2 inches. 



[87] 



y 



A CATALOGUE OF 



No. 66 

Cylindrical Vase, with sloping shoulder and attenuated and slightly flar- 
ing neck (commonly known as club shape), of fine hard white porce- 
lain, decorated in typical colors of the "famille verte" variety, with 
iridescent qualities and much brilliancy. 

The elaborate colored motive consists of a series of eleven pictorial subjects, arranged 
in tiers and displaying Imperial personages and groups in various engagements, most 
probably a representation of historical events, with landscape and interior settings, care- 
fully and minutely executed upon the panels, that are disposed upon a green stippled 
ground, that is enriched by a superposed painting of storks and blossoms in varied colors. 

Two of the landscape panels, representing a mountainous region of China, are upon the 
neck, which is finished by a "herring-bone" band at the rim in green, and a "scepter 
head" or fungiformed border in yellow and green enamel surrounds the shoulder. 

The white foot bears a blue ring and leaf-mark under the glaze. 

The ensemble, its paste, quality of colors, and drawing, clearly indicate the K'ang-hsi 
period (1662-1722). 

Height, 18 inches. 
Diameter, 7 inches. 



[88] 



CHINESE PORCELAINS 



No. 67 

Cylindrical Water-holder, with arched rim and curved spout springing 
from dragon's mouth, the decoration "sur biscuit" in the three colors 
prevailing during the Ming dynasty. 

A perfect cylindrical form, divided into three sections by raised triple-corded bands 
in light amber-colored glaze that, hoop-like, encircle the body. 

The upper band and the next lowest have two affixed grotesque lion-masks, with 
holes (intended for a handle), and these three divisions so formed are uniformly decorated, 
on light transparent green ground, showing finely outlined spiral formations in black, 
that, with dashing sprays of water, suggest a whirlwind; various symbolic attributes, 
blossoms, and leaves are superposed on this ground, together with horses that are 
strongly defined in aubergine and light-amber glaze: the animals are doubtless driven 
into action by the turbulent elements suggested in the design ; they probably represent the 
legendary steeds of the Emperor Muh- wang, who ascended the throne 1 00 1 B.C. (the 
legends state that he set his famous horses loose after many and long journeys). The 
expression of action, marked by such simplicity in drawing, together with the calli- 
graphic vitality in touch, suggests their derivation from an artist (possibly Chao Meng- 
fu) of the Sung dynasty, who was noted for the painting of these horses. 

The shield-like projection on the top is decorated on the outside with a separate 
motive including a bird and other details picked out in yellow and aubergine on the 
green ground. 

The foot is in biscuit and is of characteristic quality. 

Era of Ch'eng-hua (1465-1487), Ming dynasty. 

Height, 1 6% inches. 
Diameter, ^l 2 inches. 



[89] 



A CATALOGUE OF 



No. 68 

Tall Rectangular Vase, massive fine white porcelain, with small raised 
openwork medallions, brilliantly decorated in "seven colors" of the 
"famille verte" palette. 

The four upright panels display elaborate "over-glaze" painting, which effectively 
involves red lotus blossoms, on a transparent green brocaded ground with arabesques 
and foliage, in combination with the raised openwork medallions. 

Each side sustains two "a jour" medallions slightly raised; of these the lower are uni- 
formly square, and have landscapes with the fabled "dog Fo" in lustrous glazes; the 
upper row of medallions are alternately fan-shaped and round, depicting flowering plants 
and birds, together with land and water scenes, all carefully executed in the paste and 
picked out with bright-colored enamels. 

The sides are uniformly inclosed by a narrow green and black border, with the outer 
edges showing the glazed white body-color. The decoration on the incline of shoulder 
carries the brocaded design from the sides into a raised " scepter head " or fungus-like 
band in green " over-glaze," with a white reserved outline. 

The square neck, with its raised band of green palmation upon the white body, 
starts from a small key-fret in red glaze, and is finished at the top by a projecting rim, 
showing on each side two small green archaic motives. 

The base, which is slightly contracted from the body, carries a small diamond-shaped 
border, and the lower edge is finished with a small scroll. 

The under foot is biscuit, with a glazed sunken panel. 

Its period is seventeeth century (late Ming or early K'ang-hsi). 

Height, 1 8 V2 inches. 
Diameter, 6 \/ 4 inches. 



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CHINESE PORCELAINS 



No. 69 



Tall Square Vase, with figures in relief. The porcelain is of fine hard texture 
and massive, decorated in brilliant "famille verte" colors. 

The vertical sides, tapering from the shoulder to the base, present a series of four groups, 
modeled in high relief and richly glazed: The first includes Lao Tsze, the ancient philos- 
opher and founder of Taoism, with lofty brow in accordance to traditions, accom- 
panied by a boy attendant holding a long stem or a tablet; and a landscape setting in 
various colored glazes against a fine white ground. 

The second panel holds an official in court attire walking in a terraced garden with 
balustrade, accompanied by a boy bearing a long stem with a lotus flower (an emblem 
of fruitfulness). A high rocky cliff is in the background, and, above, an inscribed poem 
finishes the panel. 

The third panel presents an official bearing the " Ju-i" wand (of official rank), accom- 
panied by a boy carrying a presentation vase. A large growing palm tree is shown, in- 
dicating retirement and freedom from the turmoil of life. 

The fourth panel presents a warrior with bow, and also a boy, who holds an arrow 
with a lancet point (an ornament or symbol), possibly being instructed in archery; an 
inscription also adorns this panel. 

The square attenuated neck, flaring into a broad rim at the top, decorated with a fret 
in green, has raised gift vases below separately picked out in transparent colored glazes. 

The bevel shoulder panels are in rich brocaded design, showing red blossoms and green 
foliage on a light-green ground ; a similar brocaded pattern fills the panels on the con- 
tracted base, which spreads outward. 

The foot underneath is biscuit. 

Era of K'ang-hsi (1662-1722). 

Height, 1 8 inches. 
Diameter, 6V4 inches at foot. 



[91] 



It* 



A CATALOGUE OF 



No. 70 

Tall Square Vase, of dense heavy porcelain, with " famille verte " decora- 
tion: made to hold arrows. This specimen is mounted on a Louis XVI 
bronze stand to replace its original porcelair pedestal. 

The four quadrangular sides of the vase are alternately embellished with raised and 
openwork ornamentation in separate divisions, and with painting in polychrome enamel 
colors of the early K'ang-hsi period. 

A broad horizontal band with a pale amber-colored ground in "over-glaze" decora- 
tions surrounds the middle of this vase, showing a "four-clawed" dragon-like serpent 
(Mang), alternately in green and red, surrounded by arabesque foliage in green and lotus 
blossoms in red and manganese purple (aubergine) ; this band divides each side into three 
distinct sections: The upper, with a white-glazed ground, sustains two separate adorn- 
ments — i.e., two raised medallions with blossoms and foliage in bold relief, and a rich 
flower and fruit decoration in brilliant colors; the alternating motive being (two) raised 
circular "Longevity" characters ("Shou") in openwork and gilding. 

The lower division, with its white ground, contains a circular decorated medallion on 
each side, displaying a rampant dragon pursuing the "precious gems," or pearls, amid 
conventional cloud and flame symbols; two of these dragons are green, alternating with 
one in aubergine and one in red. 

Two narrow and raised key-fret borders in green and purple (aubergine), together 
with a third band showing a floral decoration on a stippled ground, finish and emphasize 
the middle and upper divisions. 

The white body-glaze is slightly tinged with a delicate and barely visible celadon 
shade. 

Early K'ang-hsi (1662-1722). 

Height, 1 8 '/s inches. 
Body, 4 inches square. 



[92] 





noiJBioasb toloD-navsa ,msV kohbtuhD IUT h usH 



AL, 



OGUE OF 



No. 70 



are Vase, of dense hea^ 
nade to hold arrows 
>ize stand to repla* 



quadra 

rnamentanon ir 
i the early Ka 
broad horizonU 

M 7 1 

No. / I 

lg), altematel) 

Pair of Tall 
distinct sections: 

. two raised rn 
ad fruit decorav 
circular "Longevity" cl 
The lower division, w 
e, displaying a 
cloud and na 
rgine and one 
arrow and raised 
i band showing a flo 
aiddle and upper chvr 

•v^hite body-glaze 
Je. 

rCang-hsi (1662 

1 8 '/a inches, 
inches square. 



•Jt »k, 



u, with " famili» lecora- 

cimen is mounted on a L VI 

celair ^»ec 

tely embellished with raised and 
with painting in polychrome enamel 

K a lored ground in "over-glaze" decora- 

N __ Iragon-like serpent 
i a in green and lotus 
Cylindrical Vases, Seven-color decoration 
(K'ang-hsi) 

and a rich 
Alternating being (two) raised 

■(.jcnwork and gilding. 

ms a circular decorated medallion on 
'precious gems," or pearls, amid 
i agons are green, alternating with 

en and purple (aubergine), together 
n a stippled ground, finish and emphasize 

delicate and barely visible celadon 



[92] 



CHINESE PORCELAINS 



No. 71 

Tall Cylindrical Vase (so-called club shape), with sloping shoulders and 
attenuated neck, flaring slightly toward the upper rim. White hard- 
texture porcelain of fine quality. 

The embellishment presents a warrior subject, including a rocky landscape and de- 
tached cliff-like formations, in relief and carefully picked out in brilliant colors of the 
" famille verte " variety with gilding, upon a uniformly white glazed ground. 

The central figure (crossing a bridge) represents a burly truculent giant (probably 
Kuan Yii or Chung-kwei) clad in official garb. Other mounted warriors are approach- 
ing with different ancient arms, including spears, swords, leaded balls and loops. 1 

In the distance a group of three persons includes an emperor, or commander of high 
rank, attended by his standard-bearer displaying the character "Ling" (commanding 
officer), and a dragon displayed amid the conventional clouds completes a strikingly 
vigorous motive. 

The shoulder is decorated with a brocaded arabesque design in red, involving chrys- 
anthemums and four white reserve medallions that show a separate treatment of flowers 
and fruit in several colors, and a small green scalloping finishes the outer edge. 

The neck is encircled near the shoulder by a green and black fret band, and two 
small scalloped borders form a center division that sustains a red and gold dragon amid 
clouds and flames in low relief. 

The upper rim is bordered by a fret design penciled in red, and the foot is finished by 
an involuted band of spear-heads. 

Produced in the eighteenth century (probably toward the end of the reign of K'ang- 
hsi). 

Height, 29 inches. 
Diameter, 8 inches. 

1 An ancient weapon of iron or lead attached to a line, which is thrown at an opponent. 
The feat is to throw the ball very swiftly from side to side to its full extent. 



[93] 






A CATALOGUE OF 



No. 72 

Tall Cylindrical Vase (companion to No. 7 1 ), with sloping shoulders and 
attenuated neck, flaring slightly toward the upper rim. White hard- 
texture porcelain, of fine quality. 

The embellishment presents a spirited warrior subject, including a rocky landscape 
and detached cliff-like formations, in relief and carefully picked out in brilliant colors of 
the " famille verte " variety with gilding, upon a uniformly white glazed ground. 

Two distinct groups of armed horsemen, in full charge toward each other, are con- 
fronted by the appearance of wild animals, including the burly rishi giant Chung-kwei(?). 1 

A banner shown by one of the groups bears the mystical symbol "Yang and Yin." 
Fragments of rocky landscape with conventional clouds concludes the raised and colored 
decoration. 

The shoulder is decorated with a brocaded arabesque design in red, involving chrysan- 
themums and four white reserve vignettes or panels showing a separate treatment of 
flowers and fruit, and a small green scalloping finishes the outer edge. 

The neck is encircled, at the shoulder, by a green and black fret band, and two small 
scalloped borders form a center division that sustains a red and gold dragon amid clouds 
and flames in low relief. 

The upper rim is bordered by a fret design penciled in red, and the foot is finished by 
an involuted band of spear-heads. 

Produced in the eighteenth century (probably toward the end of the reign of K'ang- 
hsi). 

Height, 29 '/ 4 inches. 
Diameter, 8 inches. 

1 A favorite myth of the Chinese. He was supposed to be a ghostly protector of the Emperor 
Ming Hwang (7 1 3-762 A.D.), and is sometimes shown riding upon a lion or tiger. 



[94] 




£^[ .oH 

98fiV 916Up2 UfiT 

asbis iuoI aril janiwork .afrav allime^ 
(ierl-gnfi'y'i) 



■ | 




-^ 



UE OF 



Tail Cylindrical Vase (companion to No. 7 1 ), wit. >g shoulders and 

attenuated neck, flaring y toward the upper rim ird- 

ture porcelain, of fine q 



Famille 



Th ilishment presents a 

and detached cliff-like formations 
the "famille verte" variety with g 
Two distinct groups of a 
■he appearance 
aner shown by 
its of rocky lane ' 
ion. 

shoulder is decorated 
urns and four white res 
and fruit, and a small gre. 
neck is encircled, at the sr 
A borders form a cenU 

in low relief, 
upper rim is bordered by s 
luted band of spear-heads, 
'iced in the eighteenth 



.or subject, including a rocky landscape 
eked out in brilliant colors of 

white glazed ground. 

No. 73 

Tall Sauare Vase 

1 all kJLJUarc V doc 

ig and Yin. 
verte, showing the four sides 

icludes the raised and colored 

(K'ang-hsi) 

abesque desigt involving chrysan- 

,janels separate treatment of 

!g finishes the outer edge. 

green and black fret band, and two small 
tains a red and gold dragon amid clouds 

esign penciled in red, and the foot is finished by 

>ly toward the end of the i K'ang- 






29 V4 inches. 
Diameter, 8 inches. 

ite myth of the Chinese. He was sup 

.g Hwang (71 3-762 A.D.), and is sometin 



of the Emperor 
pon a lion or tiger. 



[94] 



CHINESE PORCELAINS 



No. 73 

Tall Square Vase, brilliant " famille verte" type (polychrome colors with 
the green predominating), its rectangular form tapering downward from 
the curved shoulders, with a slightly everted cylindrical neck (mortar- 
shaped) ; the paste is of fine hard texture and rare purity. 

The four vertical panels show two separate treatments in superb "over-glaze" decora- 
tion and lustrous colors; two sides have a light transparent green ground sustaining in- 
dividual floral motives of minute and felicitous detail: one side presents a charming 
combination of the peony and magnolia plants, with their blossoms and foliage, in warm 
natural tints, springing from behind an open rocky cliff, with pheasants and other birds 
contributing to the animation; the other green panel carries an old dwarfed peach (or 
plum) tree with its stems in aubergine (manganese) glaze, bearing white and yellow 
blossoms; they are encircled by many magpies, birds of good omen, hovering about the 
fragrance. 

The two alternating panels show a white ground with landscape and figures, in the 
distinctive colors and classic taste prevailing in China during the seventeenth century, 
under the Viceroy Lang-ting-so, at the King-te-chen (Ching-te-che'n) factories. 

The legendary subject depicted upon one of these panels includes a high mountain 
(Kw'en Lun) with steep and rugged ledges, through which a distant sea ("Lake of 
Gems") is visible; in the foreground are gathered legendary beings (Taoist immortals), 
assembled, it appears, at the mountain realm of the Genii fairy Hsi-wang-mu, who is 
presented riding on the back of a fabled phoenix (Feng-huang) flying to the place of 
meeting, attired as a princess, with a " Ju-i" scepter, and nearing the old sage, presumably 
Lao Tsze, the ancient Chinese philosopher (termed also " God of Longevity," and appear- 
ing with a less pronounced high forehead than usual), who stands upon a high projecting 
ledge ; he is about to be charged with an important mission by Hsi-wang-mu for a dis- 
tant votary, and, possibly, to receive a "sacred peach" from the Genii fairy. 

The fourth panel, on the reverse side, presents a more domestic scene, and one that 
may be also interpreted from Chinese legends. Lao Tsze, as history has it, was a very 
small man, and is here so represented, and in the act of delivering the "sacred peach" 

[95] 






14 



A CATALOGUE OF CHINESE PORCELAINS 

of longevity coming from the fabled tree "Fan-tao" growing in the domain of Hsi-wang- 
mu, conferring with it the gift of immortality on the venerable person depicted, possibly 
the King Mu, who in his travels (B.C. 985) was entertained by this fabled queen of 
the Western regions: or it may be the fairy-queen's future consort, Tung Wang-kung, an 
Eastern king. 

A young prince stands by this favored mortal, fondly embracing him, while a very 
tall person in court attire is holding a scroll, indicating a possible interruption in the read- 
ing of a state paper. 

A child in a wheel-chair, with an attendant, is engaged in the meantime watching the 
antics of three boys passing near the terrace; palms and an old pine tree in the back- 
ground complete a masterly handling of this group, that is probably copied from the early 
masters of the Sung or the Yuan dynasty. 

The four panels described are surrounded by a margin with fine lines, effectively fram- 
ing them, and the curved shoulders carry peach blossoms. A medallion, also in the form 
of this fruit, with green ground, embellishes the neck, portraying Lao Tsze borne on 
clouds and holding a branch of the sacred peach tree, which, legends state, blossoms 
every three thousand years and yields its fruit three thousand years later. An inscription 
on the neck finishes the fascinating homogeneous decoration of this vase : from a little 
poem, entitled "Mu-tan" (Peony), the author of which was Han Tsung, who lived dur- 
ing the T'ang dynasty. The poem refers, in part, to "the dew of the fairies' golden 
hand," and also to "the precious hall," alluding to the Han-lin Academy. "The jewelled 
hall," a term of respect for the Han-lin (Professor F. Hirth, Ph.D.). S. Lockhart's 
"Manual of Chinese Quotations" gives a transcription of this poem reading: "In the 
morning its beauty widely spreads the dew of fairy hands ; at night its fragrance in- 
tensely attracts the wind of the Jade-stone hall," a reference to the reputation of Han-lin 
academicians. 

The foot is in biscuit, with sunken panel bearing a blue leaf-mark (Artemisia), with 
a small ancient inscription under glaze. 

Its provenance is ascribed to the era of K'ang-hsi (1662-1722). 

Height, 19V2 inches. 
Shoulder, 5 7 / 8 x 5 7 / 8 inches. 



96 



GROUP WITH A COLORED FOUNDATION 

The tall square vases with a reserved design of transparent enamel glazes 
against a colored foundation properly constitute a distinct class by them- 
selves, and they have for centuries ranked among the noblest creations of 
the Chinese ceramist. Esteemed by native connoisseurs, they have also 
held a high place in mandarin and princely collections. 

The several examples represented here are of a particularly high order, 
with all the characteristic attributes in point of paste, and rare colored 
glazes, which easily distinguish them and the period. It may be freely 
stated that their degree of excellence in technique, form, and embellish- 
ment has not been reached in former eras nor since. 

With regard to certain colored glazes which are taken as distinguish- 
ing marks, attention may be called especially to the tints of manganese 
purple, to their peculiar transparency and shades, and to the emerald and 
yellow-toned greens which always characterize the early products of the 
rCang-hsi era, while the yellow enamel color is itself also noteworthy. 
Vide Nos. 74 and 75. 



[97] 



A CATALOGUE OF 



No. 74 

Tall Square Vase, Imperial yellow-glazed ground, with the so-called haw- 
thorn blossoms and other symbolic flowering plants, held in reserve. 

A fine rectangular form is presented, tapering down from the shoulder, with a slightly 
flaring cylindrical neck, like a chemist's mortar. The porcelain is of fine hard texture 
and sustains a most resplendent floral embellishment, that, with changes in the ground- 
color, give sumptuousness to its extraordinary decorative splendor. 

Each of the four vertical panels carries a superb symbolic decoration of a flowering 
plant, that indicates its season — e.g., the fair peony (for spring) is represented in full 
bloom, and large; several are colored in brilliant red, relieved by one in purple and another 
in white, growing on strongly marked and knotted branches, glazed in neutral aubergine, 
springing from amid open rocks and other herbage in varying shades of green, and all 
carefully rendered, including some birds. 

The second panel displays the radiant lotus (for summer) boldly drawn and penciled 
in a strong red; the large and long stems are in green, and grow among different ferns, 
in shallow water, with several insects hovering above. 

The symmetrical chrysanthemum (for autumn) fills the third panel, showing the flowers 
carefully penciled in red, with here and there one picked out in purple glaze, growing 
from the side, among rocks on an elevation, and in strong outline against the yellow 
body-color. 

The delicate blossoms of the wild prunus (for winter) fill the fourth panel, showing 
many of the flowers in red ; the branches are carefully picked out in aubergine glaze, with 
darker hatching of the same tint, and rooted among rocks on the side of a precipice. 
The rendering of the finely tapered stems and branches, bearing the blossoms in diminish- 
ing sizes, is typical, and tends to give perspective value to the otherwise flat unshaded 
coloring. This freely handled floral motive is animated by a few birds hovering above the 
fragrant blossoms. 

The mortar-shaped neck is also invested with a yellow glaze and flowering plants 
involving insects and butterflies, including two dark-green and yellow chevron-fretted 

[98] 





^ .o\A 



386 V 91£Up2 IlfiT 

aabfa iuol pdt gnrwotie .bnuoig wolby-Ifinaqmi 
UaH-grus'}! yhs3) 



A C 



^UE OF 



Tall Square Vase, Imperial yellov ad, with the so-* 

thorn blossoms and other sym? owering plants, held in reserve. 



m the shoulder, with a slightly 
is of fine hard texture 

No. 74 



A fine rectangular form is pn 
flaring cylindrical neck, like 
and 5 a most re 

ve sumptuousiv 

Tall Square Vase 
Imperial-yellow ground, showing the four sides 
(Early K'ang-hsi) 
in white, growing on si 

y from amid open 
ndered, including 
The second panel display 

ng red; the large and Ion;, 
water, with several in?' 
metrical chrysantherau; 
y penciled in red, with here a 
le, among rocks on an el 






. utral aubergine, 
i of green, and all 



\mer) boldly drawn and penciled 
and grow among different fems, 

e third panel, showing the flowers 

ne picked out in purple glaze, growing 

trong outline against ow 



«\nnt 



wm 






^cate blossoms of the m 

flowers in red: th 
•arching of the same 
>f the finely 
typical, and tend^ 
. This freely h doral rr 

ns. 
The shaped neck ii I with glaze and flowering plant 

ts and butterf] ark-green and yellow chevron-h 

[98] 



ecipice. 

■n diminish- 

.wise flat unshaded 

birds hovering above the 






- 



CHINESE PORCELAINS 

bands that finish the upper and lower edges, with a purple line on either side. Sprays 
of floral blossoms finish the shoulders. 

A white-edged margin with fine purple lines frames the four panels, and completes 
an altogether characteristic decorative design, that is enhanced by the wonderful richness 
of the colored enamels, exemplifying one of the rare types produced under the Emperor 
K'ang-hsi, and ascribed to the prefecture of Lang. 

The foot is partly in biscuit and incloses a sunken white-glazed panel with the six 
character-marks in blue of Ch'eng-hua (1 465-1 487) of the Ming dynasty (apocryphal). 

The combined colors attest its provenance as early K'ang-hsi or Ts'ing-yao. 

Height, 1 9 7 / 8 inches. 

Diameter at shoulder, 5 7 / 8 inches. 

Diameter at base, 4 5 /s inches. 

From the collection of Chang-yen Huan, formerly Minister at Washington and 
special Imperial envoy to England for the Queen's Jubilee. 

L cFC. 



[99] 



A CATALOGUE OF 



No. 75 

Tall Square Vase, with light-green ground, of the so-called hawthorn 
class, its rectangular form tapering downward from the shoulders, with 
a slightly flaring cylindrical neck. 

The paste is hard and of fine dense texture, agreeably sustaining a soft light-green 
glazing that is of rare mottled quality, harmoniously blending with the emblematic 
flowering plants, rendered in low tones, with masterly freedom and much delicacy, in 
the typical glazes of the early K'ang-hsi palette. 1 

Each of the four vertical sides indicates a season by its distinctive flower — e.g„ the 
peony, for spring, is represented in aubergine and yellow, with the knotted and strongly 
marked branches, in neutral manganese glaze, springing from near large pointed rocks, 
amid other herbage, all picked out in various green, purple, and yellow glazes. 

The lotus, for summer, is naturally displayed on the second panel, with large leaves, 
its seed and long stems growing in shallow water and among fems and grass; two 
ducks in the foreground, together with insects above, lend life and aid the composition. 

The chrysanthemum, for autumn, fills the third panel, and is shown clustered among 
large rocks that project from the side of an elevation, all carefully glazed in various 
greens, yellow, purple, and aubergine, in strong outline against the pale-green ground- 
color. 

The blossoms of the wild prunus (hawthorn), for winter, are represented on the 
fourth side, rooted close to a large pointed rock, with the numerous branches knotted 
and knurled to suggest an old tree, and glazed in neutral-toned aubergine with dark 
hatchings; the foliage is picked out in varying shades of green, while the blossoms are 
in white reserve, with yellow in the coronas, carefully drawn in various sizes from the 
full-grown blossom to the smallest buds; two magpies hover above, one of which is 
yellow and the other purple, while both have green wings ; a small disk represents the 
sun on this and on the peony panel. 

x T\\e few examples of this class known to-day Ts'ing-ying-hsuan as superintendent, and it was 

have been ascribed as made under the prefecture he who especially became famous for such objects, 

of Lang, who retained his office until about 1 688 ; known in China as Ts'ing porcelain, 
but in the year 1683 the Emperor appointed 

[100] 






i 



I 



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CO 


o 

3 


s 


a 


C 


q 


a 


-£J 


U-' 


<n 




rU 


■> 


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CO 


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7s 

e 








A CATAL 



UE OF 



Tall Square Vase, with light-green ground, of the so-called hawthorn 
,ss, its rectangular form tapering downward from wilder 

lightly flaring cylindrical neck. 

.aste is hard and of fine dense I >ly sustaining a soft light-green 

lending with the emblematic 
>m and much delicacy, in 



1 

CJQ 



01 

P 


H 




r— e.g„ the 
dkJ strongly 


O 

c 

s 




2 


from near large pointed rocks, 






p 


>le, and yellow gla; 


o 
3 


< 


Ui 


and, with large leaves, 


5' 


CA 




1 among ferns and grass; two 


£L 






e and aid the composition. 


S 






and is shown clustered among 






all carefully glazed in various 



; that is of rare mottled qua 
ering plants, rendered in lov 
cal glazes of th 
of the four v> 
or spring, i: 
' ed branches, in n 
amid other herbage, c 

The lotus, for summer, ta na 
its seed and long stems growing 
s in the foreground, together 
The chrysanthemum, for auburn 
large rocks that project from the side 

ens, yellow, purple, and aubergir> gainst the pale-green ground- 

The blossoms of the wild prunus I m), for winter, are represented on the 

;rth side, rooted close to a large rock, with the numerous branches knotted 

1 knurled to suggest an old tree, and glazed in neutral-toned aubergine with dark 
ngs; the foliage is picked out in varying shades of green, while the blossc 
ute reserve, with yellow in the corona ul!y drawn in • he 

wn blossom to the smallest bud. magpies h 

ow and the other purple, while both have green wings; a so resents the 

sun on this and on the peony panel. 

l The few examples of this class known to-day Ts'ing-ying-hsuan as si dent, and it was 

e been ascribed as made under the prefecture he who especially became famous for such objects, 

ang, who retained his office until about 1 688; known in China as Ts'ing porcelain, 
/ear 1683 the Emperor appointed 

[10 



CHINESE PORCELAINS 

The four edges of the vase have yellow-glazed margins and a line of aubergine fram- 
ing each panel. 

The mortar-shaped neck is also invested in pale-green glaze, like the sides, and sus- 
tains various flowers, butterflies, and insects which are dispersed over the field; dark- 
green and yellow chevron-fretted borders, at the lip and edge of shoulder, accompanied 
by a small band in purple manganese, finish the neck. Each shoulder displays emblem- 
atic fungus forms, among grasses, in purple and yellow. 

The foot is partly in biscuit, and the white-glazed sunken panel bears the six blue 
character-marks of the period Ch'eng-hua (1465—1487). Dynasty of the Ming (apoc- 
ryphal). 

Paste and translucent glazes are characteristic Ts'ing-yao types produced under 
K'ang-hsi. 

Height, 19 3 A» inches. 

Diameter at shoulders, 5 3 /4 inches. 

Diameter at base, 4 5 /s inches. 

From the collection of Chang-yen Huan, formerly Minister at Washington and 
special Imperial envoy to England for the Queen's Jubilee. 



[101] 



PORCELAINS WITH A BLACK GROUND 

THESE porcelains, showing the reserved design separately treated in 
light transparent and opaque enamel colors, form a characteristic class by 
themselves. This mode of decoration, originating in China, has for cen- 
turies been applied upon both biscuit and the purest white paste. It 
may be stated that to fix the opaque black enamel, and to cover the 
ground and to assimilate evenly, taxed the skill of the ceramists of early 
periods, so that such products afford standards of excellence to all sub- 
sequent eras and remain unrivaled to this day. 

The dull black enamel color is developed under the action of a central 
fire, of an intensity suited to the fusibility of the metallic oxides used. 
To produce the desired color white lead is employed, mixed with oxides 
of cobaltiferous manganese and copper. In some pieces made in more 
recent periods, the black enamel shows clear signs of a treatment to 
reduce its natural brilliance in imitation of the older specimens. 

The brilliant black enamel is obtained from oxides of manganese and 
calcined cobaltiferous ores, with a mixture of certain proportions of fer- 
ruginous earth, which gives the brown tinge called in China "Tzu-chin." 

The number of metallic oxides used for other colors, viz., green, yellow, 
amber-green, etc., although limited, were combined by the ceramists in 
varying mixtures, so as to obtain many contrasting tints of special beauty 
and quality. 



[103] 



A CATALOGUE OF 



No. 76 



Square Vase, ' black-hawthorn " variety, tall, with rectangular body 
tapering downward from curved shoulder that unites with the graceful 
flaring (mortar-shaped) neck: the porcelain is of dense white kaolinic 
paste, and of fine texture, showing at the foot and on the edges of the 
four panels. 

The four sides are superbly embellished with favorite Mandarin flower subjects, in bril- 
liant polychrome colors, pleasingly relieved by the soft greenish-black enameled ground. 1 

Graceful flowering plants are presented on each vertical panel, that symbolize a 
season : i.e., the fair peony for spring, the lotus for summer, the chrysanthemum for 
autumn, and the wild prunus (hawthorn) for winter, showing the blossoms in red and 
white ; all are skilfully rendered in drawing and in typical colored glazes, including red 
of iron, with the foliage and rugged masses of rocks in various brilliant shades of green ; 
the stems are glazed a characteristic manganese (purple tone) employed during the pre- 
fecture of Lang, under the Emperor K'ang-hsi. 

The neck and four corners of shoulder are separately enriched by sprays of blossoms 
and flowers, with the black ground-color of body ; two narrow borders in " herring- 
bone ' ' chevrons, picked out in green and yellow glazes, encircle the top and the base 
of neck. 

The foot is in biscuit, and has a sunken glazed panel bearing the six (apocryphal) 
Ming marks of Ch'eng-hua (1 465-1 487), but the specimen may be ascribed with more 
certainty as early K'ang-hsi (1662—1722). 

Height, 20 '/ 8 inches. 

Diameter at shoulder, 5 3 / 4 x 4 3 / 4 inches. 

Diameter at foot, 4V 2 x 4'/2 inches. 

From the collection of Chang-yen Huan, formerly Minister to Washington and 
special Imperial envoy to England at the Queen's Jubilee. 

1 Specimens with a black enameled ground in to us from those remarkable epochs in ceramic art ; 

which the design is reserved for a separate glaz- from which we may amply adduce the great skill 

ing are among the inventions for which the Chinese of ancient ceramists, aside from any designs by 

deserve special credit, as they are technically their great painters which may have inspired them, 
among the most notable productions handed down 

[104] 




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^| 8 \ kaolim 

paste, and of fine texture, show §i1 the foot and on t the 

four panels. 

The four sides are superbly embellished with favorite Mandarin flower subjects, in bril- 

it polychrome colors, pleasingly relieved \ aft greenish-black enameled ground. 1 

Graceful flowering plants a vertical panel, that symbolize a 

se;> e., the fair peony ! dimmer, the chrysanthemum for 

autumn, and the wild prunu blossoms in red and 

& S J glazes, including red 

f S" ^ Z ades of green ; 

t I" < ^ 

e neck and four corner 3 inched by sprays of blossoms 

I flowers, with the black g jdy ; two narrow borders in " herring- 

evrons, picked out in ; w glazes, encircle the top and the base 

>ck. 

The foot is in biscuit, and has a sunken glazed panel bearing the six (apocryphal) 

ng marks of Ch eng-hua (1 4( 7), but the specimen may be ascribed with more 

inty as early K'ang-hsi (1662 - ! 722). 

) '/ 8 inches. ro 

leter at shoulder, 5 3 ' 4 x4 7^ |_ If 

a- i «<" "^ 

" | n 
special Imperial envoy to England at the Queen's Jubilee. 

Specimens with a black enameled ground in to us frotn those remarkable epochs in ceramic art ; 

which the design is reserved for a separate glaz- from which we may amply adduce the great skill 

ing are among the inventions for which the Chinese of ancient ceramists, aside from any designs by 

deserve special credit, as they are technically their great painters which may have inspired them. 
am> jost notable productions handed down 

[104] 



CHINESE PORCELAINS 



No. 77 

Tall Square Vase, with " black-hawthorn ' embellishment, its rect- 
angular form tapering downward, and shoulder slightly curved, with 
mortar-shaped neck : the paste is of dense kaolinic texture, that shows 
on the reserved white margin bordering the edge of each panel. 

This vase is invested with a heavy lustrous green-black enamel that attractively 
sets off the imposed decoration on the four sides, displaying with fascinating fidelity the 
branches of the wild prunus (" Mei ") tree, springing alternately from the shoulder or 
base, and profusely covering each of the panels with white buds and blossoms, 
surrounded by fluttering or flying birds, all picked out and harmoniously glazed in 
light transparent colors, with strongly outlined branches glazed in a neutral tint of 
aubergine (manganese) shaded by hatched lines and knurls in a darker tone. 

The four corners of shoulder bear white clusters of the same blossoms, and the neck, 
also in black, holds butterflies and lotus flowers alternately ; the square foot is biscuit 
(unglazed). 

Era of K'ang-hsi (1662-1722). 

Height, 1 9 7 /s x 5 3 / 4 inches. 



[105] 



A CATALOGUE OF 



No. 78 



Tall Vase, baluster-formed, of the "black-hawthorn" type. 

The porcelain, which is of a hard white quality, is invested with a soft greenish-black- 
enamel body-color, carrying a typical reserved design of the wild prunus ("Mei") tree, 
with its growth of sturdy branches and stems bearing white and green blossoms, with 
yellow centers carefully drawn with minutest details and finely disposed upon the body 
of the vase, with foliage and birds picked out in varying shades of transparent green and 
yellow glaze; the knurled branches, starting from the base, are in neutral-toned auber- 
gine (color of manganese), and spring out amid openwork rockery, in varying shades of 
green glaze. 

The paste, together with the enamel colors and the beautiful contour, jointly present 
a typical specimen of the K'ang-hsi era (1662-1 722). 

Height, 1 5 V2 inches. 
Broadest diameter, 8% inches. 



[106] 



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CHINESE PORCELAINS 



No. 79 



Presentation Dish, of fine-textured white porcelain, with exquisite enamel- 
ing and finish. 

The center panel of face is decorated with a rampant Imperial dragon (five claws), 
in lustrous black enamel, pursuing the " sacred pearl " among nebulae of fire, relieved by 
a light transparent green ground, with double black lines, and bordered by a soft-toned 
white glaze. 

The under side is bordered with brilliant black glaze, showing two iridescent green 
dragons, with five claws, carefully drawn amid conventional fire motives ; underneath 
shows a white glazed foot and a circular dragon medallion with nebulae of fire, bearing 
the " Nien-hao " in four characters. 

Era of Ch'eng-hua (1465-1487). Apocryphal, and likely of the Ts'ing dynasty 
(K'ang-hsi, 1662-1722). 

Height, 1 '/ 2 inches. 
Diameter, 7 inches. 



[107] 



A CATALOGUE OF CHINESE PORCELAINS 



No. 80 



Large Bowl, of fine-grained hard-paste porcelain. 

The exterior sustains a freely designed floral motive, picked out in light transparent 
glazes, and relieved by a brilliant jet-black ground; the freely drawn flowers include 
the peony, magnolia, and hydrangea. The interior is also decorated, showing yellow 
and green blossoms with stems and foliage, against a pale white-glazed body. 

The white foot bears a blue ring with a grass-mark under the glaze. 

Era of K'ang-hsi (1 662-1 722). 

Height, 3 '/2 inches. 
Diameter, 7 V2 inches. 



[108] 



EARLY SPECIMENS 

THIS group of more primitive pieces may be ascribed to provinces of 
China where the manufacture of porcelain or pottery has long been obso- 
lete ; their exact date of production, also, remains a mooted question. 
It may be stated that the first pieces of their kind which were received 
from China were designated by native experts as Sung or Yuan porce- 
lains, and nobody then in Europe or in America knew about such classic 
Chinese objects. Since, however, they have been absorbed by museums 
and figure in some of the most noted collections to-day, others of a simi- 
lar type have followed. While such objects were made during the Ming 
and also in later periods, it is very possible that these particular pieces 
here under our view can be placed as belonging to the transitory era 
between the Yuan and the Ming dynasty; and may have been inspired 
by more ancient pieces of baked clay in their remote turn. 

The examples of this class are always glazed on the biscuit (i.e„ paste 
baked in a kiln) before the colors are fixed by a second firing, and gen- 
erally the biscuit shows through the glaze here and there in various ways, 
according to thickness of glaze, accident or intention, and sometimes 
owing to the disintegration of the glaze itself or the prevailing conditions 
of usage ; but the paste shows in such objects to have less kaolin than 
later porcelain, or the porcelain used for other types. 

The embellishments, which are modeled in low relief, perforated, or 
engraved, afford outlines for the different enamel colors, among which 
may be particularly noted a deep lapis-blue, shading into purple or violet, 
often resembling the color of plum-skin, or aubergine, amber-yellow, and 
a turquoise color varying in tints with epochs of production. The vitre- 
ous green is generally used for interior glazing ; on late pieces, however, 
this color appears in the embellishment of the exterior. 

These specimens possess additional interest by reason of the fact that 
they enable us, at this period, to picture to ourselves what some of the 
early porcelains or potteries were like. 

[109] 



A CATALOGUE OF 



No. 81 

Cabinet Vase, biberon shape (late Yuan or early Ming), the body wi- 
dening upward, with attenuated neck, of dark and heavy-textured 
porcelain, sustaining outlined decoration in low relief, picked out in 
amber and turquoise-colored glazes, on a dark lapis-blue ground of 
unctuous texture. 

The design, imposed and engraved on body, consists of a free-flowering stem with 
foliage, alternating with an ornamental motive of open coral-like rockery, interspersed 
with small aquatic star-shaped figures. The decoration is completed by interlaced 
strings of pearls, in white with intaglio pendants in yellow and turquoise, hanging from 
the shoulder, and the base is surrounded by rudimentary foliations in turquoise. 

The under foot and interior of neck are in dark-brown biscuit. 

Yuan dynasty (1 260-1 367). Ming dynasty (1 368-1 643). 

Height, 12 inches. 
Diameter, 5% inches. 



[110] 




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Cabinet Vase, biberon shape (late Yuan or early Ming), the body wi- 
dening upward, with a dark and heavy-textured 
porcelain, sustaining d<S 

ier and turquoise-r 1 irk iapis-blue ground of 

CD 



tuous texture. 



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foliage, alternating with an ornamen |. e rockery, interspersed 

nail aquatic star-shapec |- umpleted by interlaced 

gHo pf I' How and turquoise, hanging from 

rhe shoulder, and the base foliations in turquoise, 

under foot and interi ck are in dark- brown biscuit, 

ian dynasty (1260-13' \iing d; 1368-1643). 



ht, 12 inches, 
meter, 5^U inches. 



r 



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5" 



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[110] 



CHINESE PORCELAINS 



No. 82 



Cabinet Vase, biberon form, widening upward, with attenuated neck, of 
heavy-textured Yuan or Ming porcelain, sustaining an outlined deco- 
ration imposed on the paste, in low engraved relief, and separately 
glazed in turquoise, with a dark amber-colored biscuit showing through, 
against a ground of dark lapis-toned blue. 

The embellishment consists of four slightly raised plants with foliage, glazed in 
turquoise-blue, and a scallop-shaped bordering, with strings of beads and floral sprays in 
each separation ; the base is encircled by a band with rudimentary ornament and foli- 
ated form, also in turquoise. 

The interior of neck is in green glaze of vitreous quality, and the foot bears a sunken 
panel in the same glaze, with a biscuit rim. 

Yuan dynasty (1 260-1 367). Ming dynasty (1 368-1 643). 

Height, 1 2 inches. 
Diameter, 5 ] / 2 inches. 



[Ill] 



A CATALOGUE OF CHINESE PORCELAINS 



No. 83 

Massive Jar, oviform, reticulated and of heavy Sung paste, with its own 
porcelain pedestal, glazed partly in purple, with turquoise and amber- 
yellow trimming, " sur biscuit," which shows through the edges of 
ornamentation and at the foot, with less kaolin than later porcelain. 

The outer casing, which is superposed on an interior vase of solid form, presents both 
raised and incised ornamentation, that is most vigorously modeled and undercut in the 
paste ; the design, which is archaic and rudimentary in parts, presents the eight (Pa-sien) 
immortals, or legendary beings, surrounded by conventionalized clouds, and ornate per- 
forations. 

The figures are partly glazed in deep purple, while their heads and hands are re- 
served in the biscuit form. 

A bordering in scalloped form, and with openwork inclosing symbols and birds, is 
clearly defined by its foliations in turquoise, finished at each upper point with a rosette, 
and at the lowest points with tasseled pendants that sustain finely modeled rudimentary 
masks of demons, against a shell-like shield ; between the tassel and mask the cords 
hold alternately an intaglio ornament and a button. 

The base is embellished by a conventional wave border in turquoise-blue, and the 
neck is finished by a fringed bordering, with the rim glazed in purplish-blue, and the 
interior glazed in a light mottled turquoise. 

The foot is in biscuit and shows the paste of gritty pottery texture. 

The pedestal is in the form of a raised stand with incisions through the body, glazed 
in dark blue and turquoise, with bordering in yellow matching the vase. 

Early Sung (960-1 259). x 

Height of vase, 1 1 '/ 2 inches. 
Diameter at base, 8 inches. 

1 Descriptions of " Chiin-chou " pottery of the or sandy paste also corresponds with the records 

Sung dynasty, quoted in the " T'ao-shuo," or of several authorities. 

treatise on pottery (an early native work), would This example is certainly one of the oldest of 

lead one to believe that this example could easily its class that has come before me. The paste differs 

have come from those kilns (eleventh to thirteenth from Ming specimens or Ming reproductions of 

centuries), as the color of "prune-skins," or "purple- older types, and the jar may well be classed as of 

brown," or a " purple-like ink," is referred to, as an early era in the Sung dynasty. — J. G. 
well as a green called " parrot-green." The gritty 

[112] 



GLOSSARY 



GLOSSARY 



Many of the technical terms are explained in other parts of this book. 



Accomplishments, the four (of the Chinese 

scholar), music, chess, calligraphy, and painting, 
often represented on porcelain. 
AMITABHA, the most popular Buddha, both in 
China and Japan, dating from the third century 
of our era (it is only since the fifth century that 
he has been placed in the foreground in China). 
Amitabha is supposed to preside with Kwan- 
yin over the Paradise in the West, where the 
good may enjoy long ages of rest. See S'akya- 



muni. 



ARHATS (a Sanskrit term meaning " worthy " or 
" deserving "), the immediate disciples of Bud- 
dha. The Chinese increased their number from 
sixteen to eighteen (Lohan) during the T'ang 
dynasty. The last two enrolled are constantly 
represented apart from the others, their attributes 
being the tiger and dragon. The Arhat is the 
perfect Arya, attained only by passing through 
the different degrees of sainthood, and implies 
the possession of supernatural powers. 

Armorial Porcelain-, during the period of 

K'ang-hsi and, later, under Yung-cheng and 
Ch'ien-lung, it became customary for nobles and 
wealthy individuals in Europe to order porce- 
lains made in China bearing their family arms. 
Among these may be found the arms of dis- 
tinguished families of England and France and 
the provinces of the Netherlands. 
AUBERGINE, a purple or plum-colored glazing 
derived from the oxide of manganese: apdy 
named by the French. Its tint resembles the 
rind of an egg-plant. 

BAMBOO (" Chu ") is an emblem of longevity 
(owing to its durability) frequently depicted 
on porcelain. The bamboo grove was the 
resort for scholars in former times. 



BATS are constantly depicted on porcelain. 
Looked upon as of good omen, when five bats 
(" Wu fu ") are grouped together it signifies the 
five blessings, longevity, riches, love of virtue, 
serenity, and an end crowning life ; the Chinese 
character for " bat " and " happiness " having 
the same pronunciation. 

BISCUIT is the product of unglazed paste of porce- 
lain which has been baked in a kiln. 

BLANC DE CHINE, white-glazed porcelain with- 
out a colored decoration or painting. 

BOCCARO WARE : a name applied to red or 
brown Chinese pottery, which may be dec- 
orated in enamel colors or lacquer. On the 
most ancient specimens the surface shows a 
patinated effect like old bronze. 

BODY, OR PASTE, the porcelain substance of 
which an object is made. See Paste. 

Brocaded Pattern, a term applied where 

the ground or field is covered with an all-over 
design in arabesques, or with flowers and foliage 
in two or more colors, copied sometimes from 
rich textile motives. 

BUDDHISM, called in China the religion of " Fd," 
was introduced into that country during the first 
century A.D. Its favorable reception was 
due largely to its tenets, which allowed the in- 
corporation of strange deities. The first " Sutra " 
was translated into Chinese in the year A.D. 
67, during the time of the later or Eastern Han 
dynasty, by Kas'yapa Matanga, a disciple of 
S'akyamuni, who entered China with Han 
Ming-ti's embassy on its return from Badakshan. 
By its means the Buddhist doctrines first became 
known in China. Such translations horn the 
Sanskrit form the earliest and still continue to 
be the most important part of Chinese Bud- 



[113] 



iH^ 



GLOSSARY 



dhistic literature and art. During the first eight 
centuries of the existence of Buddhism in China, 
the circle of S'akyamuni's disciples (Arhats) 
comprised the same number as in India (sixteen), 
which was increased in the ninth century A.D. 
by the enrollment of two additional disciples to 
its present complement. 
BURGAUTEE, lacquered Chinese porcelain : gen- 
erally applied to a black-lacquered ground- 
color elaborately inlaid with mother-of-pearl and 
plates of silver or gold leaf, or landscapes with 
small figures ; produced under K'ang-hsi. 

Butterfly Pattern, a mode of embellish- 
ment in which this insect appears. The finest 
type, as well as the rarest, was produced during 
the era of K'ang-hsi, and belongs to the " fa- 
mille-verte " variety. Butterflies (" Hu-tieh ") 
are often employed in decoration as a sign of 
conjugal felicity, and, in fact, the butterfly may 
be called the Chinese Cupid. 

CELADON (designated by the Chinese as 
" Ch'ing "), a pale- or sea-green glaze of rather 
wide range in tones, and of varying degrees of 
transparency. The word " celadon " was first 
used to designate the bluish- or greenish-gray 
costumes worn on the stage by shepherds, and 
came into vogue during 1612, when the pas- 
toral romance " L'Astree " was brought out by 
Honore d'Urf^, " Celadon " being the name of 
the hero, who first appeared in such neutral 
green cloths, so that this color was named after 
him, and became fashionable. Chinese porce- 
lain soon thereafter appeared in Europe, and, 
being glazed in a light green, this name was 
fixed upon it directly ; but in Persia and some 
other Eastern countries celadon ware was long 
known under the name of " Martabani." 

CH'-LIN. See Ky-lin. 

CHING-TE-CHEN (Pekinese). See King-te- 
ch&n. 

CHRYSANTHEMUM, an emblem of autumn and 
symbol of joviality. This flower is valued for 
its variety and richness of color. 

CITRON FRUIT. See Hand of Buddha. 

CRACKLE, a term applied to pieces in which the 
glaze exhibits a crackled effect running over the 
surface like broken ice, obtained by preparing 
the respective proportions of steatite, silica, and 
alumina in the composition of the glaze ; in this 
manner the crackle can be produced in various 



sizes at will. The large and more irregular 
crackle on old specimens is called " crab claws," 
and the smallest " fish-spawn " or " shad roe." 
The fine examples of dark turquoise usually have 
this latter characteristic. 

The oldest crackle ware dates back to the 
most remote periods, antedating that in which 
porcelain was produced by many centuries. 
The type called in China " Mi-se," of a pale 
ca.fi-a.u-la.it color, is probably older than celadon 
crackle. Another type of crackle was called 
" Tsui-khi-yao," and was produced in the 
thirteenth century. In some examples the 
crackled glaze is a striking part of the embellish- 
ment, especially when the network of the cracks 
is filled with a red or black coloring ; the most 
notable being those that exhibit two distinct 
effects, a large crackle colored in one stain, and 
a smaller in another. 
CRICKETS are frequently kept in special cages, 
and persons of high rank as well as others amuse 
themselves by irritating two insects in a dish and 
then betting on the prowess of their favorites. 

DOG FO, sometimes called " lion Fo," or T'ai 
Shih, a chimera with grinning muzzle and sharp 
teeth, curly mane, and big claws, generally rep- 
resented playing with a ball (" chu ") : the 
habitual defender of the threshold. 

DRAGON, emblem of the Emperors of China ; 
the number of claws marks the rank of the 
wearer. Thus the Imperial dragon, lung, has 
five claws; and the dragon of princes of the 
third and fourth ranks, only four claws. 

The lung, or dragon, is chief of the four Chinese 
supernatural beasts. Regarded as the king of 
the scaly tribe, in its usual form it is a composite 
monster with the scowling head of the camel, 
horns of a deer, eyes of a rabbit, ears of a cow, 
neck of a snake, scaly serpentine body, claws 
of a hawk, formidable paws of a tiger, and 
curious flame-like appendages to its shoulders. 
The dragon of the sea assumably ascends 
in waterspouts, and is regarded as the ruler 
of all its phenomena, and as such is worshiped 
and feared by Chinese fishermen. The su- 
perstition of all classes toward it is probably 
a modified relic of the wide-spread serpent- 
worship of ancient times. (Williams's " Middle 
Kingdom.") 

In art, the colors vary according to the taste 
of the artists, but white, yellow, and blue 



[114] 



GLOSSARY 



are perhaps the most frequently seen ; each 
shade having its own symbolical meaning, al- 
though the huang-lung, or "yellow dragon," 
is the most honored of the series or tribe. As 
an emblem of majesty its name is a euphemism 
for that of the Emperors of China and Japan ; 
the Imperial throne {tung-<wei) becoming the 
" dragon-seat," the face of the ruler {lung-yen), 
the " dragon countenance." 

DRAGON'S-EYE FRUIT (" Lung-yen "), Nephel- 
tum Longanum. 

EGG-SHELL (" t'o-t'ai "), so called from its being 
supposed to be no thicker than the shell of an 
egg. These fragile pieces are made usually in 
" hard paste " and of the purest materials, care- 
fully prepared and manipulated through every 
stage, from the wet clay to the baking and the 
final glazing and painting. In the history of 
King-te-chen we find that a quasi egg-shell 
(known as " Han P'i ") was produced during 
the Lung-lo period. Ming writers refer to their 
porcelain as being made as " thin as paper " 
and called " t'o-t'ai," or bodiless ; but allow- 
ance must be made for their flowery Eastern 
style of writing. 

The most notable egg-shell to-day is the 
" famille-verte " type, made under the Emperor 
K'ang-hsi, followed by the esteemed " famille- 
rose" egg-shell porcelain of Yung-chien and 
Ch'ien-lung. True egg-shell presents great dif- 
ficulties in its manufacture, and requires extraor- 
dinary dexterity on the part of the ceramist 
artists to produce it perfectly. 

ENAMEL, a term applied to colored glazes em- 
ployed in painting on porcelain, as well as to the 
opaque white coating that is sometimes spread 
over a coarser quality of porcelain, and used 
especially upon large pieces. 

In technology the term is exclusively reserved 
to enamel painting over the glaze. 

The Chinese style of painting with these 
enamel colors differs entirely from the European ; 
especially is this so in older specimens, where 
the forms are not modeled, and only strokes 
of black or darker shades define the outlines. 
The colors, laid on in flat tints, are stronger 
and more decorative than in European pro- 
ducts, and a lightness of shades gives a pecul- 
iarity which makes them approach nearer than 
any other to the vitrified substances known as 
enamels. Chinese porcelains are therefore 



characterized by simplicity and by a greater 
degree of uniformity. 

The varieties of the center or muffle-fire colors 
have played probably as important a part in the 
high reputation gained by Chinese porcelains 
as have the originality and harmony of the de- 
signs or forms. 
ENGOBE. See Slip Decoration. 

European Pattern. The influential position 

occupied by the Jesuits was maintained chiefly 
by their high attainments in the sciences and as 
members of the Board of Astronomy down to 
1814. Contemporaneously with this, they ex- 
ercised considerable influence upon other matters 
not directly connected with the studies for which 
they were famous. Through them was brought 
about a style of decoration on porcelain, for the 
Palace and for general use, that was purely 
European in its character, going so far as to re- 
produce objects from European capitals as well 
as copying the dress and scenes of European 
life. 

On certain Ch'ien-lung, Chia-ching, and 
Tao-kuang porcelain a decided tendency is 
shown toward Western detail ; in some pieces 
may be noted a marked resemblance to ara- 
besques and foliated ornamentation, evidendy 
derived from illuminated missals and due largely 
to the influence of the missionaries and their 
schools. Besides these, the Imperial household 
was greatly impressed with the enamels of 
Limoges, snuff-boxes, and European watches 
which came to China from France, especially 
during Yung-cheng's reign, so that several 
Jesuit brothers were commissioned to make 
European designs for the decoration of porce- 
lain, and every object not perfect was rejected 
by the superintendent of the Imperial factory. 
Many of these gradually passed into other 
hands. Possessing novelty to the Chinese mind 
and interest from the fact that they were ap- 
preciated at court, these objects would serve 
as models in the decoration of ordinary ware, 
and thus account for the decadence of the earlier 
Mongolian character on such objects. 

FAMILLE ROSE, a term given by Jacquemart 

to objects in which the rose-color may dominate 

the over- glaze decoration. 
FAMILLE VERTE, a term applied by Jacquemart 

to a class of over-glaze decoration in which 

green enamels are dominant. 



[115] 






GLOSSARY 



The foregoing terms, although first decried by 
some writers on Chinese porcelains, have proved 
very useful in quickly describing the character 
of such specimens. 

FENG-HUANG, or FENG-HWANG (frequently 
translated as " Phoenix "), is the generic desig- 
nation usually employed for a fabulous bird of 
wondrous form and mystic nature, the special 
emblem of the Empresses of China. In works 
of art, it is a nondescript bird of paradise or a 
compound of a peacock with the addition of 
five gorgeous colors, typical of the five cardinal 
virtues. In literature, it is said to have the head 
of a pheasant, the back of a swallow, the neck 
of a tortoise, and the outward semblance of a 
dragon. (Mayer.) 

Early legends narrated that this bird made 
its appearance as a presage of the advent of 
virtuous rulers. 

FILLETS, pieces of red cloth or tape looped or 
tied round anything believed to possess the 
efficacy of a charm. They are, in fact, to the 
charm what the halo is to the deities or gods 
and goddesses. 

FlSH. The carp and perch are the two species 
most employed in art. 

Two fishes, united by loops or fillets, have 
reference to domestic felicity. The perch, called 
" Fu," is supposed to go about in pairs ; and 
this word having the same sound as "Fu," 
happiness (meaning also plenty), by increasing 
the number to two (following the usual Chinese 
method of expressing a superlative) it is made 
to mean a wish for the utmost plenty. 

FLAMB£ (" Yao-pien") or transmutation common- 
ly termed "splashed glaze" : a variety of colors 
in accidental or wilful dappled effect. 

FU, or FUH, a character meaning " Happiness" : 
often represented on presentation porcelain in 
circular seal or other form. 

FUNGUS (" Lin-tchi " or " Ling-chih "), Toly- 
porus lucidus, which grows at or near the root 
of trees. As it is very durable when dried, it 
has been considered by the Chinese as an 
emblem of longevity, and frequently employed 
in decoration or as a mark on porcelain, together 
with the grass which grows near it. 

GENII (" Yii Sien "), a certain race of immortals, 
who have eaten of the leaves of the tree called 
" K'ien." The result of this food is that the 



bodies of those who eat of it become pellucid 
as crystal. This notion is derived in part at least, 
as would appear, from Buddhist Sutras, where 
a tree, called the tree of the King of Drugs, is 
said to grow on the Himalayas, and to possess 
such magic virtues that whoever smells, touches, 
or tastes it is immediately healed of all diseases. 
(Mayer.) 

GLAZE, the thin glassy covering of porcelain. In 
China it is made of pe-tun mixed with lime, 
petrosilex, and fern ashes ; " hoa-chi " (steatite) 
is also used, sometimes mixed with the glaze 
and at other times in the paste ; another sub- 
stance used in the same way is called " Yeou- 
ko" (d'Entrecolles). 

The glaze is prepared to a liquid state and ap- 
plied by immersion, by sprinkling, or by being 
blown from a tube with gauze. See also 
Enamels. 

GOURD (" Hu-lu "), an emblem of longevity, ow- 
ing to its durability when dried. 

GRAVIATA (a term rarely used), Pekin porce- 
lain, made as a yearly tribute to the Emperor, 
who, having a large collection of it, often pre- 
sents it to European and other visitors. It was 
produced particularly under Ch'ien-Iung( 1 736- 
1795)and the succeeding period of Tao-kouang. 
Large vases, and especially bowls, exist of this 
class, with a yellow, rose, or pink ground, usu- 
ally engraved in small patterns and covered 
over with other enamel colors in rich arabesque 
motives. Large medallions are left in white re- 
serve for separate flower and bird decorations. 
The bowls are generally known as " medallion 
bowls," and come also in a yellow-citron or 
crimson body-color, with similar engraved field. 

HALL-MARKS, a form of inscription on Chinese 
porcelains, often put on pieces according to the 
fancy of the decorator ; but as the artist used 
the more or less romantic designation of his 
studio as a " nom de plume," or the seal of the 
superintendent of the Imperial factory, much un- 
certainty exists as to these so-called " hall- 
marks." They are found on pieces of varying 
qualities, from those made and inscribed with 
the name of an Imperial pavilion to the "flow- 
ery " trade-mark of some particular shop where 
they were subsequently offered for sale. 

HAND-OF-BUDDHA (" Fo-show "), or " Bud- 
dha's-hand," a peculiar kind of citrus fruit 



[116] 



GLOSSARY 



{Citrus Sarcodactyttts), cultivated in China, 
terminating in long, narrow points like fingers, 
hence called " hand of Fo " or Buddha. It is 
made to run to rind, and its odor is said to be 
powerful, although rather pleasant. The citron 
is common in southern provinces, and extraor- 
dinarily large, but scarcely eaten ; being put on 
a dish to please the eye and smell. 

Happiness, God of (" Fu Hsing "). See Lao 

Tsze. 

HARD PASTE (" pate dure" "), a term used for 
white Chinese porcelain proper. It is formed 
of two materials — one, called kaolin, which is 
derived from a feldspathic clay (see Kaolin and 
Porcelain) ; and the other, called in China 
" pe-tun," a mixture of feldspar and quartz 
that by careful preparation is turned into a fine 
white fusible substance. 

The paste of fine hard porcelain is translucent 
and vitrified, differing from ordinary earthenware 
as — for example, faience — in both respects, 
and from stoneware, which has no clear ring. 
See Soft Paste. 

HAWTHORN, an English trade term used to 
designate the prunus-blossom (" Mei-hwa ") 
decoration : notable in the blue and white and 
also among the several colored grounds, i.e. 
black, green, and yellow, hence the so-called 
blue hawthorn, the black hawthorn, etc. 

HO-HO (Japanese) : a term frequently used in- 
correctly. See Feng-huang (Chinese). 

HSI-WANG-MU (literally, "Royal Mother of 
the West"), the legendary Queen of the 
Genii, who is supposed to have dwelt in Central 
Asia among the Ku'lun Mountains (also written 
Kw'en-Iun and identified by modern geogra- 
phers with the Hindu Kush), where she held 
court. Lich Tsze gives a fanciful tale or alle- 
gorical rhapsody based on the entertainment 
with which King Mu of the Chou dynasty was 
honored and enthralled by the fairy queen 
during his famed travels (about 985 B.C). In 
later ages the superstitious vagaries of the Em- 
peror Wu Ti of the Han dynasty (died 87 
B.C.) gave rise to innumerable fables respect- 
ing the alleged visits paid to that monarch 
by Hsi-wang-mu and her fairy troop. The 
imagination of the Taoist writers of the ensuing 
centuries was exercised in glowing descriptions 
of the magnificence of her mountain palace close 
by the " Lake of Gems " and the " forests of 
chrysoprase," where the " tree of jade-stone," 



which is the tree of life and the peach-tree 
of the genii, is supposed to grow, whose fruit 
confers the gift of immortality which is bestowed 
by the goddess upon favored beings admitted 
to her presence ; and whence she despatches 
her azure-winged birds (" Ch'ing-niao "), that 
serve, like the doves of Venus, as her mes- 
sengers. In process of time a consort was found 
for her (Tung Wang-kung, or King of the 
East), who appears to owe many of his attri- 
butes to the Hindu legends of India. By the 
time of the Sung dynasty, a highly mystical 
doctrine respecting the pair was developed and 
elaborated in literature (the " Kwang chi "). 
The more sober researches of modem writers 
lead to the suggestion that Wang-mu was the 
name either of a region or of a sovereign in the 
ancient West. In painting, Hsi-wang-mu is 
usually depicted as a beautiful female in the 
attire of a Chinese princess, attended by two 
young girls, one of whom holds a basket of 
peaches and the other a large fan. 

Imperial Porcelain, a term applied usually 

to objects (made under the Ching dynasty) the 
interior and foot of which are glazed in tur- 
quoise or other distinct enamel color, contrast- 
ing with the exterior ground-color, and dis- 
tinguished by the mark of Nien-hao being 
deeply incised. 

JU-1, or JOO-E, a short curved wand terminating 
in a fungiform trefoil at the upper end : carved 
usually in jade or some other material of special 
value. This rod is probably of Buddhistic 
origin, as in ancient Buddhistic paintings it is 
usually in the hands of priests of high rank, and 
is regarded as a symbol, therefore, of the power 
of faith. It is also used as a scepter of office 
and authority. 

KAOLIN, a hydrated silicate of alumina, produced 
by the decomposition of feldspathic rock. It is 
by itself infusible, but is one of the most im- 
portant materials entering into the composition 
of Chinese porcelain. Originally so called from 
the locality whence it was derived (Kao-ling, 
near King-te-chen). Kaolin is the material that 
gives plasticity and strength to porcelain paste. 
It is found in the mountains, and is purified and 
strained first through a fine sieve, then through 
a fine silken bag made double, and drained. 
The paste thus formed is kneaded and worked 



[117] 



W 



GLOSSARY 



until the material is thoroughly compact, after 
which it is made into small bricks like the " pe- 
tun-tse." These bricks are marked or stamped 
by the makers, and sold in this shape to the 
ceramist ; but Pere d'Entrecolles stated that 
sometimes counterfeit marks were put upon an 
inferior article. 
KILN, a porcelain furnace: called in China 
" Chao-yao." 

KlNG-TE-CHEN (Mandarin) : town in which the 
most important factories are situated. See page 
xviii. 

KUAN- YIN, or KWAN-YIN, the goddess called 
" Queen of Heaven." Her name means 
" Hearer of Prayers." Kuan-yin is believed to 
share with Amitabha the dominion of the Para- 
dise in the West. This Bodhisattva, according 
to Chinese theories, is of native origin, and was 
originally the daughter of a king of the (first) 
Chou dynasty (690 B.C.), a date preceding 
the introduction in China of Buddhism from 
India. Maternal images of this goddess hold- 
ing a child are often met with in ceramic art. 

KY-LIN, or CH'-LIN, a generic name of one of 
the four supernatural creatures of Chinese 
Buddhistic tradition : an emblem of good gov- 
ernment and long life. It is called " unicorn " 
when represented with a horn. There are sev- 
eral varieties of this curious and legendary ani- 
mal. It is supposed to appear only when wise 
and just rulers or great men, like Confucius, are 
bom, and, with the Feng-huang and the red 
fox, is considered to be of good omen. Said 
" to tread so lightly as to leave no footprints, 
so cautiously as to crush no living creature." 
This animal is said to attain the age of a thou- 
sand years, and is looked upon as the head of 
hairy animals. It is depicted with character- 
istics of many different creatures, being some- 
times shown with scaly hide, hoofs and legs like 
a deer, and a tufted tail ; the shoulders bearing 
flame-like appendages significant of its divine 
nature. Its appellation, Ky-lin, is compounded 
from Ki, the male, and Lin, the female animal. 

LACE PATTERN. See Vandyke Pattern. 

LANG-YAO, a Chinese term for sang-de-bceuf 
porcelain, technically the most perfect of its 
class : named after the famous potter, Lang- 
ting-so, who was later a director of the Impe- 
rial factory at King-te-chen under the Emperor 
K'ang-hsi. 



LAO TSZE, or SHOU-LAO, the founder of the 
Taoist system of philosophy. Born under a 
plum-tree (" Li "), he is said to have taken this 
as a surname. According to some Chinese 
records he became incarnate 1321 B.C., while 
other accounts state that he was bom in the 
second month of the dragon year and period 
of Wu Ting 1324-1265 B.C. 

Other particulars of his life which are con- 
sidered authentic state that he was the keeper 
of records at Lo, a capital during the Chou 
dynasty, about the close of the sixth century 
B.C., and professed a doctrine of abstraction 
from worldly cares based upon speculations re- 
garding Reason (Tao) and Virtue (Te). It is 
stated that this excited the curiosity of Confu- 
cius, who is said to have visited LaoTsze, and to 
have retired disconcerted at his bold flights of 
imagination. (The statement regarding this 
meeting is, however, open to doubt.) After a 
long period of service, Lao Tsze is said to have 
retired to the West, after confiding a written 
statement of his philosophy to a keeper of a 
frontier pass of Han Ku, named Yin Hsi. 

Later mystics improved upon this account of 
his " classic of Reason and Virtue " by assign- 
ing a period of mythical antiquity and a mirac- 
ulous conception, through the influence of a 
star, to Lao Tsze's birth. 

According to the various accounts, he has 
lived for many centuries. His professed dis- 
ciples, Ueh Tse and Chuang Tze (in the fourth 
century B.C.), and Hai Nan Tze (in the second 
century B.C.), progressively developed the mys- 
tic element thus introduced, and a notable im- 
petus accrued to it from the superstitious belief 
with which the pretensions of the alchemists 
were received by the Emperor Wu Ti, from 
whose period onward the reverence paid to the 
founder began to assume a divine character. 

In 666 A.D. he was for the first time ranked 
among the gods, being canonized by the Em- 
peror as the " Great Supreme," the " Emperor 
of the Dark First Cause," and his tide was 
again enlarged in 1013. 

The achievement of corporeal immortality 
having been the chief aim of the sect named 
after him, the founder, Lao Tsze, naturally came 
to be considered the " God of Longevity," and 
as such he figures in paintings, and very fre- 
quently also on porcelains, being usually depicted 
as an aged man leaning upon a staff. He may 



[118] 



GLOSSARY 



be distinguished by his low stature, extremely 
lofty forehead, and long flowing beard. Some- 
times he is shown riding on a stag or a tortoise, 
and generally holding a " Ju-i " in his hand, at 
other times the fruit of the fabulous fruit-tree 
" Fan-tao," which blossoms every three thou- 
sand years and does not yield its peaches until 
three thousand years afterward. 

Li-CHI (Nepheliam Li-chi), a fruit sometimes 
grouped, in decoration, with peaches or flowers 
upon Yung-cheng and other porcelains. 

LO-CHOU. This mystic enigmatical device was 
originated in the remote dynasty of Ha (B.C.), 
and inspired by the markings on the back of a 
turtle which appeared on the surface of the 
water to Yii, a sovereign of that remote period, 
during great inundation of the country (22 1 7- 
2197 B.C.). 

Chinese and Anamite philosophers still cling 
to its forms and uses, and military movements 
or positions of troops have been regulated by 
its uses ; combination of the points also signify 
various virtues. 

LOHAN. See Arhats. 

Longevity, God of (Shou Hsing), one of the 

three star-gods (the others being the God of 
Happiness and the God of Rank), often grouped 
or shown separately on porcelains. See Lao 
Tsze. 

LONGEVITY, the first and greatest of the " Woo 
Fuh," or five blessings, emblems of which occur 
frequently on porcelain, and take a great variety 
of forms, all symbolizing good wishes to the 
possessors. 

LOTUS, a Buddhistic flower. The Chinese place 
the Nelumbium Opeciosum, or " sacred lotus," at 
the head of cultivated flowers. It perpetually 
occurs on porcelain, and may be called the em- 
blem of fruitfulness ; it is also symbolical of 
summer. 

Lucky Emblems, (" Pa-chi-hsiang "), eight in 

number, are of Buddhistic origin and derived 
from India. They are altar-pieces, and, carved 
in wood or molded in clay with variations both 
of shape and detail, enter largely into the archi- 
tectural decoration of temples. In their or- 
dinary form they also appear on porcelain as: 
(1 ) a bell (" Chung "), or a wheel with fillets 
(" Lun "), representing the wheel of law ; (2) 
a shell with fillets (" Lo "), the chank-shell of 
the Buddhists ; (3) an umbrella (" San "), a 



state umbrella with fillets; (4) a canopy (" Kai ") 
with fillets ; (5) a lotus-flower (" Lien-hua "), 
sometimes replaced by the peony (Movtan) ; 
(6) a vase (" Kuan ") with fillets; (7) two 
dishes (" Erh Yii ") united by fillets, allegorical 
of domestic happiness ; (8) angular knot with 
fillets (" Chang ")> an emblem of long life. 

LU HSING (the God of Rank), one of the three 
star-gods. See Shou and Fu Hsing. 

MAGNOLIA (Yulan), Magnolia. Conspkua, the 
emblem of sweetness or beauty : often found 
depicted on Ming and early K'ang-hsi speci- 
mens. 

MAGPIE, the "bird of happiness" (from its 
merry-sounding chatter), especially favored and 
protected by the present occupants of the throne 
of China, by reason of the part played by this 
bird in the divine origin of their ancestor. It 
is owing to those legends that the magpie fig- 
ures so often on the porcelains of this dynasty, 
and especially during the period of Emperor 
K'ang-hsi. 

Mandarin Ducks (" Yiian-yang"), beautiful 

fowls which, when mated, manifest a singular 
degree of attachment for each other, and hence 
are often used as emblems of connubial affec- 
tion and fidelity. 
MANDARIN FLOWERS, a term sometimes ap- 
plied to the most popular Chinese flowers, i.e., 
chrysanthemum, peony, magnolia, prunus blos- 
som, and orchid sprays. 

Mandarin Porcelain, a term used by Jacque- 

mart to distinguish certain types of an elaborate 
style of embellishment, generally depicting man- 
darins, with attendants or other accessories, 
upon reserved panels that are usually surrounded 
with superabundant decorations, including or- 
naments in slight relief and gilt. The finest 
pieces are of egg-shell, dating from the end 
of K'ang-hsi to very recent times. 
MANG, a composite beast resembling the dragon 
without homs, and often employed as a deco- 
ration on porcelain. In art it is usually repre- 
sented as a lizard with scowling head and 
beard, a long serpentine body, and four feet 
bearing claws but without talons. 

Motives of Decorations (on porcelains). 

Chinese artists drew their historical, legendary, 
and religious inspirations almost entirely from 
their literature, or from paintings produced by 



[119] 






■fiS 



GLOSSARY 



masters of the Sung, Yuan, and Ming dynasties 
and doubtless originally drawn from biographies 
of famous heroes and scholars. Among the 
most elaborate subjects may be noted those 
founded on the episodes of history, a large pro- 
portion being instances connected with the rise 
and fall of the Han dynasty (206 B.C. to 220 
A.D.). 

Aside from the historical domain, these early 
masters were remarkably felicitous in rendering 
the wilder forms of picturesque beauty in land- 
scape, showing towering silicic or rocky peaks, 
rugged cliffs, and gnarled old trees, cascades, 
winding streams, and cultivated valleys. These 
elements the Chinese artist presents on porcelain 
in a thousand never-failing embellishments of 
interest ; or, again, he shows more simple mo- 
tives of floral or vegetable life, no more ambi- 
tious than a bit of bamboo or pine twig, or a 
branch of the plum or peach, a magnolia or 
peony in bloom, with a bird or two in symbol- 
ism of a virtue or of good wishes. 

Mythical zoology also holds an important 
place in his art motives, and is drawn upon very 
often for the embellishment of porcelain, if for 
no other reason than that these fabulous ani- 
mals appertain to Buddhism and Taoism, are 
often special emblems. 

MARKS, on Chinese porcelains, are divided into 
various classes, viz.: 

1 . Date-marks, in two modes — Nien-hao 
and dynastic. 

2. Hall-marks. 

3. Marks of dedication and good wishes. 

4. Marks in praise of the pieces on which 
they are inscribed. 

5. Symbols and other pictorial marks. 

6. Potters' marks. 

The full list will be found in several works 
on Oriental ceramics and marks. 

MARTABANI, a term applied by the Persians 
and Turks, in ancient times, to celadon ware, 
valued especially by them on account of its 
supposed quality of acting as a detector of 
poison. 

MUFFLE-KILN (called by the French " petite 
feu "). a kiln used for soft glazes or colors con- 
taining a large proportion of lead that diffuse or 
vitrify easily. 



NlEN-HAO, the name adopted by a Chinese 
emperor, after ascending the throne, to indi- 



cate the years of his reign. It dates from the 
beginning of the new year after his accession, 
and it is supposed to signify the qualities of the 
Emperor. The " nien-hao " of the Emperor 
Kuang-hsii (who is now reigning) means " in- 
herited luster." 

It must be noted that the whole of a year in 
which an emperor dies is always attributed to 
his reign, so that the reign of his successor be- 
gins only on the first day of the following year, 
when a new " nien-hao " is adopted, it being 
contrary to etiquette to mention the personal 
name of a Chinese sovereign. 

The practice was introduced under the Han 
dynasty, when the monarch, on his accession to 
the throne ( 1 63 B.C.), selected a title for his 
reign in place of the title of Prince So-and-so, 
which had been usually employed prior to the 
time of Shih Huangti, 22 1 B.C. These titles 
were usually so chosen as to be of happy au- 
gury ; but if, in spite of such good omen, dis- 
order or misfortune ensued, or some other rea- 
son seemed to render a change advisable, one 
title would be abandoned in favor of another. 
This title is termed nien-hao, " the year desig- 
nation," because so long as it lasts the date of 
all events is chronicled as such-and-such a year 
of such-and-such a " nien-hao." 

Upon his death, however, the Emperor re- 
ceives an honorific title, under which the reli- 
gious ceremonies due to him are offered, and 
which is therefore termed the miao-hao, or 
" temple designation." 

The dates upon porcelain are usually re- 
corded by the use of the " nien-hao " as above 
described. The practice of marking the date 
of manufacture was instituted by the Emperor 
Chen Tsung of the Sung dynasty, when, on 
the establishment of the government factory at 
King-te-chen, he ordered that each article 
manufactured should be marked with the 
"nien-hao" then used: "Ching-te, 1004 to 
1007." 

Since that time, putting aside monochromes, 
which, in probably the majority of instances, 
bear no mark, they have been employed un- 
interruptedly, except during a portion of K'ang- 
hsi's reign, — i.e., in 1677, — when the magis- 
trate in charge at King-te-chen forbade the 
practice alike of inscnbing the date and of 
portraying the actions of celebrated person- 
ages, on the ground that if the article were 



[120] 



GLOSSARY 



broken, disrespect might be shown to them or 
to the Emperor. During this penod of the 
reign, which was of but short duration, how- 
ever, a leaf, censer, ring, or other mark re- 
placed the " nien-hao." 

ORANGE-PEEL SURFACE, a term applied to a 
peculiar roughened texture produced by skilful 
technique during the wet state of the paste, and 
when glazed resembling the skin of an orange : 
found usually on rare types of porcelain. 

OVER-GLAZE and UNDER-GLAZE, two modes 
of applying colored decoration on porcelain. 
In each method the " high " or " low " or 
" muffled " firing is used according to the col- 
ors employed. The blue decoration, for exam- 
ple, under the glaze, is made with the brush 
on the unbaked porcelain, which is then cov- 
ered with the glazing compound, applied by 
insufflation. The " over-glaze " decoration in 
enamel colors is done in the muffle-kiln after 
the surface is glazed and baked in the " high- 
fire" temperature. 

PA-KWA, a set of eight mystical trigrams of an- 
cient Chinese philosophy, generally arranged in 
an octagonal form, with the " Yang and yin"(the 
primordial essences) in the center. 

Developed (2852-2738 B.C.) by Fuh-hi, 
the forms were revealed to him on the back of 
a " dragon-horse " which rose out of the sea. 
They are arranged and used in many different 
ways, and often appear on porcelain as symbols. 
Chinese philosophers of remote periods have 
attempted to explain, through these mystic com- 
binations of lines, all secrets of nature and being. 
The unbroken line typifies the male, and the 
broken line the female ; they also symbolize the 
points of the compass. 

PA-PAO, or " eight precious things," often em- 
ployed for the decoration of porcelain. They 
vary considerably in form, and the explanations 
of their meaning are conflicting. The usual 
forms bear fillets and are : ( 1 ) an oblate spher- 
ical object (" Chen "), representing the precious 
pearl ; (2) a disk inclosing an open square, 
possibly a " cash," emblematic of riches ; (3) an 
open lozenge placed horizontally ; (4) a lozenge 
placed horizontally, but with a second lozenge 
or chevron in the upper angle ; (5) a sonorous 
stone (" Ching " or " King "), used in remote 
periods instead of a bell, and constituting an 



emblem of happiness or goodness ; (6) two ob- 
long books placed at angles or sidewise, alle- 
gorical of learning (books are suspended with 
other charms in the pagoda at Nanking to 
ward off evil influences — " Middle Kingdom," 
Vol. I) ; (7) two rhinoceros-horns (" se-keo "), 
shaped into quadrangular form at the opening — 
a pair is supposed to be an emblem of happi- 
ness ; (8) a leaf of the artemisia (" ai yeh "), 
an emblem of good augury. 

PA-CHI-HSIANG. See Lucky Emblems. 

PA-SIEN, the eight immortals or legendary beings 
of the Taoist sect, who are venerated and are 
frequently depicted on porcelain. Each has a 
special emblem or attribute which occasionally 
occurs as a device of embellishment, and these 
are collectively known as " Pa-an-hsien," or 
the eight Taoist emblems of the immortals. 

PEACH-TREE ("T'ao"). This tree holds a 
prominent place in the mystical fancies of the 
Taoists, and the peach is an emblem of mar- 
riage and a symbol of longevity. The gum of 
the peach-tree, mixed with mulberry-ash, is 
used as an elixir <vitaz by Taoists. 

PEONY (Mou-tan), Paeonia Moutan, the symbol 
of spring. It bears also the name of Kua-wang 
(" king of flowers "), and is regarded when 
blooming as an omen of good fortune. On the 
other hand, if the flowers fade and the leaves 
dry up, the change foreshadows poverty or 
other disaster to the family of its owner. 

In the south of China the peony represents 
love and affection. 

PE-TUN, a fine white fusible substance entering 
with kaolin into the paste or glaze of Chinese 
porcelain, and giving it transparency, but which 
by itself would fall apart. It is a mixture of 
feldspathic stone, quartz, silica, silex, and cer- 
tain limestones obtained from mountains in or 
near Lin-tching. 

The stone petrosilex (" pe-tun ") is crushed 
in large mortars and pounded to fine powder, 
then put into large jars or vats filled with water, 
stirred, and allowed to stand for a short time, 
after which the scum which rises is skimmed off 
and put into another vessel. The dregs of the 
first jar are taken out and pounded over again ; 
the process being repeated until all the foreign 
parts are removed. After settling, the water 
in the last jar is carefully drawn off, and the 
remaining sediment or paste is pressed into 
large forms and dried. Before it is quite hard 



[121] 



n 



,{(> 



GLOSSARY 



it is divided up into small cakes or bricks. 
These are the " pe-tun-tse," or " white-clay 
bricks." 
PINE-TREE, a common emblem of longevity. 

POMEGRANATE, cultivated chiefly for its beauty 
as a flowering plant. It is also a Buddhist sign, 
the fruit being supposed to represent the es- 
sence of favorable influence. The Chinese 
name "Kiat" has the same pronunciation as the 
word for luck, so when peaches (longevity) and 
pomegranate (luck) are combined, the sym- 
bolism means these blessings. 
PORCELAIN is classified under two divisions, i.e., 
hard and soft paste. It is translucent and 
partially vitrified, has a pure white body, and 
is sonorous and impermeable to water. By 
reason of its vitrification and translucency it is 
distinguishable from all other ceramic products, 
and this quality doubtless inspired the name of 
porcelain in Europe, for when it first appeared 
its novelty suggested a resemblance to mother- 
of-pearl or some other shells : at least this seems 
to be the accepted hypothesis. 

The word porcelain has undergone different 
unimportant transformations at the hands of 
European writers, who have referred to this 
wonderful product horn the East, giving the 
word according to their own language, and so 
we find the word " pourcelain " in medieval 
French inventories, presumably applied to many 
different objects, such as vases or other uten- 
sils made of shells or mother-of-pearl. 

Both Jacquemart and Fiquier believed the 
word porcelain to be derived from the Portu- 
guese porcolana or porcolla (vessel) ; but it is 
possible that the word porcelain is of Italian 
origin, and derived horn the similarity of its 
glazed white surface to that of the cowry-shell, 
called by the Italians porcellam.. 

The fact, therefore, singularly appears that 
China, although the creator of this marvelous 
product, did not give it a name acceptable to 
or used by Western countries, and that it re- 
mained for Europe to call it porcelain. 

In China porcelain is termed Yao, the word 
signifying an object baked in a kiln, whether 
glazed porcelain or glazed pottery. This word 
came into use during the T'ang dynasty (6 1 8 
A.D.), when the paste became more translu- 
cent and white through the use of kaolin. 

The word Thao was used before that epoch, 
and refers to a primitive kind of pottery or 



stoneware. The Chinese also called a par- 
ticular kind of porcelain Tse, which term desig- 
nated a porcelain made from a stone called 
Tse-chi, found in the district of Tse-tcheou. 

Generally Chinese porcelain contains more 
silica and less alumina than the products made 
at Sevres, Vienna, or Dresden. The effect of 
the presence in greater or less degree of these 
compounds is well known by the Chinese. In 
some cases they employ ferruginous kaolin, 
which sensibly diminishes the value of the ar- 
ticle. See Porcelain Paste. 

Porcelain Paste. Kaolin and "pe-tun-tse" 

in equal portions are used for porcelain of the 
finest quality; four parts kaolin to six of "pe- 
tun-tse" for the second quality; one part kaolin 
to three parts "pe-tun-tse" for the third. 

The mixture is made into paste with water, 
compressed, rolled and kneaded on a table, and 
beaten to remove air-bubbles. In its malleable 
state it is ready for the potter's wheel, where it 
receives its form. 

The portions that cannot be turned on a 
wheel, such as handles and other attachments, 
are separately molded and fastened on with 
layers of paste and a bit of gum. After the sur- 
face is smoothed, relief ornamentations, if any, 
are added, and a piece is put away to dry. 
Large objects are generally made in two or 
three parts, joined together by moistened paste. 
While the foot is still unwrought there is added 
the decoration in blue or other colors which 
require to be highly fired. The glaze is next 
applied, either by dipping or blowing with a 
tube. This strengthens the object sufficiently to 
permit the workman to fashion the foot on a 
wheel and to inscribe a mark. Coated with 
glaze, the piece is ready for the kiln. 

RICE-GRAIN PATTERN, or "grains de riz," a 
term applied to a pierced design in the form of 
a star diaper: so called because it resembles 
grains of rice, which are filled out with glaze, 
leaving the pattern semi-transparent. 

RlSHI ("Sien-nung"), genii of humankind, or 
recluses (variously classified), who have suc- 
ceeded in freeing themselves from perturbation 
of spirit and the infirmities of the flesh, or have 
attained to immortality in the existing world; 
also, the deified genii who have bidden fare- 
well to earth and have departed to roam among 
the three "Islands of the Blest." 



[122] 



GLOSSARY 



ROUGE D'OR, a rose- or crimson-tinged pink 
enamel derived from gold. 

S'AKYAMUNI, the historical Buddha, who died 
966 B.C., and is venerated throughout China, 
as in Japan, as the founder of the Buddhist 
faith. He shares the honors of worship with 
Amitabha, one of the very many factitious Bud- 
dhas invented by the Mahayana school at the 
beginning of the fourth century of our era. He 
is sometimes represented with beard and shaven 
head, attired in flowing garments agitated by 
the winds, and holding his hands in a position 
of prayer. His ear-lobes are enlarged, his head 
encircled by a nimbus, and his brow bears the 
"uma" (a light-giving circle of hair, the mark 
of a Buddha or Bodhisattva). 

At other times he is represented seated upon 
a thalamus, resting his left hand upon his knee 
and holding up the right hand with the palm 
directly forward. 

The hair is represented by a blue mass re- 
sembling short close curls of uniform size, and 
a jewel is placed about midway between the 
crown and the forehead. The "urna" and 
nimbus are always present. 

SANG-DE-BCEUF, a term applied first in France 
to a particularly brilliant red glaze which re- 
sembles the color of " beef blood." The oldest 
dates horn the Mings, and the finest is K'ang- 
hsi. 

SEGGARS, casings of clay into which pieces of 
porcelain are packed for protection from injury 
while in the kiln : usually so placed in the fur- 
nace that each separate object may receive its 
proper degree of heat. 

SHAGREENED, a term applied when the surface 
of porcelain shows small round points or, ac- 
cording to the Chinese expression, "chicken- 
flesh." 

SHOU-LAO HSIANG, also called "God of Lon- 
gevity." See Lao Tsze. 

Note : The three star-gods (" San Hsing ") of Happiness, 
Rank, and Longevity, Fu, Lu, and Shou, are often associ- 
ated, but sometimes figure separately in art and in porce- 
lain. 

SHOW, or SHOU, a character denoting lon- 
gevity, frequently represented in a circular or 
seal form, and often figuring on (presentation) 
porcelain : regarded as very felicitous to its 
possessor. It is used in a variety of styles. 



Slip, or Engobe Decoration, a white 

enamel embellishment sometimes practised by 
Chinese decorators on porcelain or pottery, 
somewhat resembling wedgwood or, in the 
finest technical sense, the "pate sur pate" of 
the French, where the white enamel is deli- 
cately manipulated into raised forms of design, 
usually on a celadon, blue, or carmine ground. 
The finest examples of this class horn China 
show a delicate lace-like tracery in white over 
the body glazing, done by means of a brush 
with the diluted paste made of "hoa-chi," 
which is prepared to the consistency of enam- 
eling liquid. The other style of slip-work is 
usually noticed on rather ordinary ware, and 
shows the white enamel as it flowed from the 
mechanical device, without brush-work or other 
manipulation. 

Soft Paste, or " Pate Tendre," a particu- 
lar kind of Chinese porcelain, sometimes called 
Fen-ting, much lighter in weight than hard 
paste, and usually distinguishable also by a 
more creamy-white texture, and with fine 
crackle. Pere d'Entrecolles described a " soft 
paste," or pate tendre, made during the latter 
part of the reign of K'ang-hsi (1712) as fol- 
lows : " Quite recently a new material has been 
found, which can be substituted for kaolin ; it 
is called ' hoa-chi,' and is a kind of stone or 
rather chalk (steatite), of about the consistency 
of hard soap. Porcelain made of this material 
is very expensive. It is very brittle and diffi- 
cult to bake, but offers the most desirable sur- 
face for the artist to paint on, retaining the 
colors perfectly ; for which reason the body of 
the pieces is frequently made of common mate- 
rial and the surface covered with this ' hoa-chi,* 
by dipping the piece into the prepared liquid. 
It is also much lighter than the average porce- 
lain ; and where kaolin costs but 20 sous, the 
' hoa-chi * costs an ' e"cu ' (an e"cu equaled $ 1 .20 
in 1 7 1 2), so that the latter materials cost just 
five times more." The white of "hoa-chi" 
was called " Siang-ya-pe," or the " white of 
ivory." The various ways of mixing the com- 
position of soft paste no doubt accounts for the 
many and varying descriptions that appear 
concerning it. See Hard Paste. 

SOUFFLE, a French term, used where the colored 
glaze is blown upon an object of porcelain by 
means of a little tube having one end covered 
with a fine gauze ; this end is dipped into the 



[123] 



W1 



GLOSSARY 



prepared color, and the decorator brings it 
near the object and blows through the other 
end ; this is repeated until the desired effect is 
obtained. 
SPUR-MARKS, generally three in number, seldom 
on Chinese porcelain, but sometimes found on 
the bottom of Japanese pieces, caused by the 
props after decoration or glazing. 

STORK, the, is supposed to reach a fabulous age ; 
it is one of the emblems of longevity, and is often 
pictured on porcelain for this reason. 

SUPERNATURAL. The four animals, according 
to " Li Ki," one of the five Chinese classics, are 
the feng (phcenix), the k<wei (tortoise), the lung 
(dragon), and the lin (unicorn). 

SWASTIKA (" Wan "), Cross of Buddha, or Fylfot, 
a mystic diagram of great antiquity, the special 
mark of all deities worshiped by the lotus 
school, and in China is regarded as the emblem 
of Buddha's heart: generally used as a symbol 
for long periods of time, and therefore an alle- 
gory of the blessing of long life. The swastika, 
or its form, is of wide diffusion, and is found in 
the rock temples of India as well as among all 
Buddhistic people of Asia, and even among 
Teutonic races, — an emblem of Thor. 

SYMBOLIC FRUITS (three), the pomegranate, 
peach, and " Buddha' s-hand" citron, are sym- 
bolic of three abundances, viz.: abundance of 
years, abundance of sons, and abundance of 
happiness. 

THOUSAND-FLOWER PATTERN, a term ap- 
plied to pieces where the entire ground is 
covered with a profusion of varied flowers with 
only here and there a leaf to break the uni- 
formity of design and to afford relief. The 
drawing in fine specimens produced under 
Ch'ien-lung is done with the utmost accuracy, 
and the observation of details most minutely 
correct. 

TIGER ("Hu") the, is described as the king of 
beasts, and the representative of the masculine 
or active principle of nature, and figures in 
Chinese art as one of the common Buddhistic 
symbols. The tiger is also the special attribute 
of the Taoist rishi Kii ling-jin and the steed of 
Ts'ai Lwan, or Wen Liao, one of the four 
sleepers. 



TRIAD of the Taoist cult, Fu, Lu, and Shou (San 
Hsing),the three star-gods of Happiness, Rank, 
and Longevity. 

VANDYKE PATTERN, a term applied in Eng- 
land to porcelain, decorated in blue, where the 
motive shows borders with scalloped or lancet- 
shaped outlines, and inclosing floral arabesques 
like on the so-called lace pattern. 

WAN-TSE, a symbolic device or mark, in diamond 
form, appearing on presentation pieces, and 
often jointly with the cross of swastika, mean- 
ing "ten thousand things," "everything," "all 
creation." 

WANG-MU. See Hsi-wang-mu. 

WILLOW, the, common in all parts of China. 
A general idea prevails that this tree, or its 
branches, is an omen of good to the family of 
a house where it is suspended horn the eaves, 
or over the front doors. The willow is also 
used in this way to ward off wicked spirits. 
(Doolittle.) 

Buddhists consider that water sprinkled by 
means of a willow branch has a purifying effect. 

During the T'ang dynasty, the willow was 
selected as a badge by Wang-chan for his fol- 
lowers in a rebellion which was planned against 
the reigning Emperor, he secretly ordering 
those who were favorable to him to stick up a 
branch of willow under the eaves and over 
their front doors ; and his soldiers were accord- 
ingly instructed not to molest the people in 
these particular houses. 

YANG AND YlNG ("In and Yo"), a common art 
motive on porcelain, in the form of a circle sub- 
divided by two comma-shaped light and dark 
segments which symbolize the active and pas- 
sive, or masculine and feminine coefficient nature. 

This Chinese mystic symbol bears a singular 
parallel to that extraordinary fiction of Egyp- 
tian mythology, the supposed intervention of a 
Mascolo, feminine principle in the develop- 
ment of the mundane egg. 

The " Tae-keih " is said to have produced 
the Yang and the Yin. See also Pa-kwa. 
(Davis, Vol. II.) 

YAO, a term applied to certain porcelain in China. 



[124] 



BIBLIOGRAPHY 

The following authorities, whose perusal will reward the deeper student, 
have been used in compiling these pages : 



"A History and Description of Chinese Porce- 
lains," by Cosmo Monkhouse, with notes by 
S. W. Bushell, M.D. Cassell & Co., Lon- 
don, 1901. 

"Ancient Porcelain: a Study in Chinese Mediae- 
val Industry and Trade," by F. Hirth, Ph.D. 
Hong-Kong, 1888. 

"La Porcelaine de Chine," par O. du Sartel. 
Morel & Co., Paris, 1881. 

"Oriental Ceramic Art," by S. W. Bushell, M.D. 
D. Appleton, New York, 1 897. (Collection 
of W. T. Walters, Esq., Baltimore, U. S. A.) 

"Chinese Porcelains," by W. G. Galland, with 

notes by T. J. Larkin, 1 902. London. 
"Histoire et Fabrication de la Porcelaine Chi- 

noise," translated by Stanislas Julien, with 

notes and additions by Alphonse Salvetat. 

Paris, 1856. 
"La Ceramique Chinoise," by M. Ernest Gran- 

didier. Paris, 1 894. (Collection now at the 

Louvre.) 
"The Chinese Reader's Manual," by W. F. 

Mayer. London and Shanghai, 1 874. 
"The Middle Kingdom," by S. Wells Williams. 

New York, London, 1861. 
"Histoire de la Ceramique," by Albert J. Jacque- 

mart; etching by Jules Jacquemart. Paris, 

1862. 
"The Garland Collection of Chinese Porcelains," 
hand-book, by John Getz. New York, 1 895. 

(Metropolitan Museum of Art.) 



" Lung-ch'uan-yao, oder Altes Seladon-Porzel- 
lan," Adolf Bernard Meyer. Berlin, 1 889. 

"A Catalogue of Blue and White Nankin Porce- 
lain," by Sir Henry Thompson. London, 
1878. (The Thompson Collection.) 

"Description and Historical Catalogue of a Col- 
lection of Japanese and Chinese Paintings in 
the British Museum," by William Anderson, 
F.R.C.S. 

"Catalogue of Oriental Porcelain," Bethnal Green 
Museum, Sir A. Wollaston Franks. Second 
edition, 1 878. (This collection is now in the 
British Museum.) 

"A Sketch of the History of Ceramic Art in Chi- 
na," by E. Alfred Hippisley. Extract from 
the Report of the United States Museum for 
1 900, Washington, D. C. Reprinted 1 902. 

"Les Symboles et les Accessoires des Culte chez 
les Annamites," par G. Dumoutier, annates 
du Musee Guimet. Paris, 1 89 1 . 

"Guide de 1'Amateur de Porcelaines et de Fai- 
ences," Johann Georg Theodor Grasse. 
Dresden, 1 894. 

"Social Life of the Chinese," by the Rev. Justus 
Doolittle. London, 1868, Sampson Low, 
Marston & Co. 

"Lettres Edifiantes et Curieuse des Missions 
Etrangeres," published by L'Abbe de Quer- 
boeuf, Paris, last edition 1 780-1 783; the let- 
ters of Pere d'Entrecolles, written in 1712 
and 1 722, are in Vols. 1 8 and 1 9. 



The marks on porcelain are given in various editions of Chaffers, and will also be found 
in Hopper and Phillips's " Manual of Marks," and in Dr. J. G. Theodor Grasse's 
work (German Edition), "Abriss der Geschichte des Porzellans und der Thongefasse," 
Dresden. 

[125] 



il9 



CHINESE PERIODS 



DYNASTY OF THE MING 



Title of Reign 



f3. l<i>i» 



5c Ji 



or Nien-hao 

Hung-wu . 
Chien-wen 
Yung-Io 
Hung-hsi . 
Hsiian-te . 
Ch&ng-t'ung 
Ching-t'ai . 
Tien-shun . 






Date of Accession 


Title of Reign, or Nien-hao Date of Accession 


. 1368 


Jfcft 


Ch*eng-hua .... 1465 


. 1399 


%m 


Hung-chih .... 1488 


. 1403 


jEfS 




. 1425 




Chia-ching .... 1522 


. 1426 


W IS 


Lung-ch'ing or -ch'ien . 1 567 


. 1436 


-II , g-_!«^ 

Bg rTTn 




. 1450 


m& 


T'ai-chang .... 1620 


. 1457 


%^ 




| Ch'ung-c 


:h£n . . . 


. 1628 



DYNASTY OF THE TS'ING 



Title of Reign, or Nien-hao Date of Accession 

•?§ Shun-chih 1644 

J5B K'ang-hsi 1662 

Ir. Yung-cheng . . . . 1 723 
y>£, Ch'ien-lung .... 1 736 

•ft Ht Kuang-hsii 



Title of Reign, or Nien-hao 


Date of Accession 




Chia-ch'ing 


. . . 1796 


m,% 


Tao-kouang . 


. . 1821 


mm 


Hsien-feng 


. . 1851 


mm 


T'ung-chih 


. . 1862 




. 1875 





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